From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 01:39:18 2008
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Date: Mon, 1 Dec 2008 02:39:17 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
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Subject: Re: Another piece uploaded for sharing: "70.000 Years Ago"
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arghh... left a comment on ube.
unbelievable! ...

raul.

2008/12/1 Per Boysen <perboysen@gmail.com>

> Hi,
>
> Just uploaded a fresh live looping piece here:
> http://www.ubetoo.com/Artist.taf?_ArtistId=6550
>
> This is a flute improvisation with the typical speed-shift-by-pedals
> improvisation style for creating chord changes by re-pitching the loop
> while playing over it (and even overdubbing into it). If you hear
> something that reminds of the Eventide effect devices it is the
> SoundToys Native plug-ins. I really love them! The bizarre scratchy
> noise sound is the flute played through MainStage's (and Logic's, they
> share the same plug-ins) vocoder plug-in. The pitch rider isn't very
> accurate, which you can hear at the end of the piece (funny wailing
> tone there ;-)
>
> Per
>
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

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arghh... left a comment on ube.<div><br></div><div>unbelievable! ...</div><div><br></div><div>raul.</div><div><br><div class="gmail_quote">2008/12/1 Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span><br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Hi,<br>
<br>
Just uploaded a fresh live looping piece here:<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">http://www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
This is a flute improvisation with the typical speed-shift-by-pedals<br>
improvisation style for creating chord changes by re-pitching the loop<br>
while playing over it (and even overdubbing into it). If you hear<br>
something that reminds of the Eventide effect devices it is the<br>
SoundToys Native plug-ins. I really love them! The bizarre scratchy<br>
noise sound is the flute played through MainStage&#39;s (and Logic&#39;s, they<br>
share the same plug-ins) vocoder plug-in. The pitch rider isn&#39;t very<br>
accurate, which you can hear at the end of the piece (funny wailing<br>
tone there ;-)<br>
<font color="#888888"><br>
Per<br>
<br>
</font></blockquote></div><br><br clear="all"><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><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a><br>
</div>

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From haneganmorris@rocketmail.com  Mon Dec  1 03:44:30 2008
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I have a new email address!You can now email me at: haneganmorris@rocketmail.com



- From Morris Hanegan 01-12-2008 Compliment, My name Mr. Morris Hanegan, I found Your Contact through internet and decided to reach you directly to solicit your assistance and Guidelines in making a business investment and transfer of (12.5M GBP) with me from security company. I will like you to assist me in executing this Business Project from the security company, to your country within the Next few days.I need to know if you will be able to handle this with me before I explain to you in details. If you're interested please send me your ful names, private phone/fax through this email (morris_hanegan@hotmail.com) for an initial confidential communication. I wish for utmost confidentiality in handling this transaction. Awaiting your reply Sincerely, Mr. Morris Hanegan.


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>haneganmorris@rocketmail.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">From Morris Hanegan 01-12-2008 Compliment, My name Mr. Morris Hanegan, I found Your Contact through internet and decided to reach you directly to solicit your assistance and Guidelines in making a business investment and transfer of (12.5M GBP) with me from security company. I will like you to assist me in executing this Business Project from the security company, to your country within the Next few days.I need to know if you will be able to handle this with me before I explain to you in details. If you're interested please send me your ful names, private phone/fax through this email (morris_hanegan@hotmail.com) for an initial confidential communication. I wish for utmost confidentiality in handling this transaction. Awaiting your reply Sincerely, Mr. Morris Hanegan.</span></div></div>
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From morris.hanegan@rocketmail.com  Mon Dec  1 04:00:29 2008
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I have a new email address!You can now email me at: morris.hanegan@rocketmail.com



- From Morris Hanegan 01-12-2008 Compliment, My name Mr. Morris Hanegan, I found Your Contact through internet and decided to reach you directly to solicit your assistance and Guidelines in making a business investment and transfer of (12.5M GBP) with me from security company. I will like you to assist me in executing this Business Project from the security company, to your country within the Next few days.I need to know if you will be able to handle this with me before I explain to you in details. If you're interested please send me your ful names, private phone/fax through this email (morris_hanegan@hotmail.com) for an initial confidential communication. I wish for utmost confidentiality in handling this transaction. Awaiting your reply Sincerely, Mr. Morris Hanegan.


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>morris.hanegan@rocketmail.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">From Morris Hanegan 01-12-2008 Compliment, My name Mr. Morris Hanegan, I found Your Contact through internet and decided to reach you directly to solicit your assistance and Guidelines in making a business investment and transfer of (12.5M GBP) with me from security company. I will like you to assist me in executing this Business Project from the security company, to your country within the Next few days.I need to know if you will be able to handle this with me before I explain to you in details. If you're interested please send me your ful names, private phone/fax through this email (morris_hanegan@hotmail.com) for an initial confidential communication. I wish for utmost confidentiality in handling this transaction. Awaiting your reply Sincerely, Mr. Morris Hanegan.</span></div></div>
--0-2051759051-1228103624=:23385--

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 07:16:00 2008
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Subject: Re:New recorded piece uploaded for sharing: "Yellow Music Box"
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Wow Per, "We want more" :) I was already a big fan of yours but this too =
is a very inspiring piece of music. Is there a chance we can buy/download=
 this?
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 07:20:30 2008
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Yeah, that's me!  I played the first set on Sunday so only a few people saw
it.  You guys really impressed me with your willingness to share knowledge
and support one another.

We  never did finish that rewrite of Satisfaction....

Lindsey

---
Hey Lindsey,
your name rings a bell...are u the girl who Rick introduced us to after the
Goth night party and we procceded to party all night at another Ricks
friends house, and who also spent the night at Ricks that night?

www.myspace.com/luisangulocom

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Yeah, that&#39;s me!&nbsp; I played the first set on Sunday so only a few people saw it.&nbsp; You guys really impressed me with your willingness to share knowledge and support one another. <br><br>We&nbsp; never did finish that rewrite of Satisfaction....<br>
<br>Lindsey<br><br>---<br>Hey Lindsey,<br>
your name rings a bell...are u the girl who Rick introduced us to after
the Goth night party and we procceded to party all night at another
Ricks friends house, and who also spent the night at Ricks that night?<br>
<br>
<a href="http://www.myspace.com/luisangulocom" target="_blank">www.myspace.com/luisangulocom</a><br>

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Date: Sun, 30 Nov 2008 23:26:47 -0800
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Subject: Re: New recorded piece uploaded for sharing: "Yellow Music Box"
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I love the way the sound evolves.  Very meditative and beautiful.  Cute
ending.  Bravo!

Lindsey

2008/11/30 Sjaak <tcplugin@scarlet.be>

> Wow Per, "We want more" :) I was already a big fan of yours but this too is
> a very inspiring piece of music. Is there a chance we can buy/download this?
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
>
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
> Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm
>
>

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I love the way the sound evolves.&nbsp; Very meditative and beautiful.&nbsp; Cute ending.&nbsp; Bravo!<br><br>Lindsey<br><br><div class="gmail_quote">2008/11/30 Sjaak <span dir="ltr">&lt;<a href="mailto:tcplugin@scarlet.be">tcplugin@scarlet.be</a>&gt;</span><br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Wow Per, &quot;We want more&quot; :) I was already a big fan of yours but this too is a very inspiring piece of music. Is there a chance we can buy/download this?<br>

---<br>
Sjaak<br>
<a href="http://www.livelooping.be/" target="_blank">http://www.livelooping.be/</a><br>
<a href="http://www.overgaauw.be/" target="_blank">http://www.overgaauw.be/</a><br>
<a href="http://www.myspace.com/sjaakovergaauw" target="_blank">http://www.myspace.com/sjaakovergaauw</a><br>
<br>
<br>
---<br>
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!<br>
Doe mee en surf ook gratis! &gt;&gt; <a href="http://www.scarlet.be/nl/mgm" target="_blank">http://www.scarlet.be/nl/mgm</a><br>
<br>
</blockquote></div><br>

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Per, 
Do you have a bigger picture of this yellow music box? Thanks
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

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"You'd need a pretty smart sample player, with many layers of samples
being triggered under different circumstances to do a reasonable job,
and even then the nature of MIDI would frequently defeat you
(depending on controller and its match to the instrument being
modelled)."

A pretty complicated process indeed...but that is of course if the aim
was to imitate the instrument in real time. All those nuances could be
put together if one were to programme it in slowly keeping in mind the
instrument.  one would ask..why go through the hassle, just play the
guitar and record it?

I guess it would be that the sampler is the instrument that i wish to
learn not the guitar. In the case of the conga, I have learnt it to an
extent but struggle to get a good sound for recording (injuy/newbie
recording chops). It would not take long for me to mimic all the
nuances of playing conga if they were made available to me but, like
you say, i would if i were to play the sampler live and map piano
movements to conga sounds.
All is well in the realm of programming.

but i think it is possible to say take 16 conga samples and assign
them to say a trigger finger and practice finger excersices using the
trigger finger as virtual conga. (not so painful, great on quality.
but the guitar would present more of a translation challenge.

I guess i want the sampler to be a kind of 'any instrument'. learn the
techniques of the sampler well enough and have access to any sound
without going through the years of learning various techniques..and
stil be able to 'play' it live, perhaps a deadend since i woudnt be
able t visualise the techniques in the programming of melodys, grooves
or in the mapping it to a triiger finger or three...and would only
just pass as 'ok sounding'

to have all perc instruments at my disposal with one controller, one
technique to learn and the ultimate in portability (with the one draw
back of being 'inauthentic')
But the people in my generation like that inauthentic sound- so its all good

these kids, always looking for shortcuts around years of hard work

errr... was i babbliing?

just trying to make music like the sounds i hear in my head.











On 11/30/08, Warren Sirota <wsirota@wsdesigns.com> wrote:
> You can replicate a single note via a sampler pretty darned well. What is
> much harder to replicate realistically are incidental noises and
> non-pianistic techniques in a particular idiom (especially if you're trying
> to trigger them via MIDI, an extremely keyboard-centric view of the world).
> Even playing a single note on my guitar - how hard I pluck it determines
> both how "slappy" (as in bass slapping) it sounds, and also how much of a
> little fret buzz coming in after the 2nd note hits. And the attack of the
> 2nd note, being a hammer-on, is quite different than the attack of the first
> (and is impossible for the sampler to even begin to model, since all it gets
> is a MIDI pitch change message from the controller - how does it know it's a
> hammer?). You'd need a pretty smart sample player, with many layers of
> samples being triggered under different circumstances to do a reasonable
> job, and even then the nature of MIDI would frequently defeat you (depending
> on controller and its match to the instrument being modelled).
>
>
>
>
> On Sun, Nov 30, 2008 at 8:26 AM, SP Goodman <spgoodman@earthlight.net>
> wrote:
> >
> >
> >
> > From: mark francombe
> >
> >
> > >
> > > >  I never found a way to
> > > > satisfactorily replicate Tablas, for instance.  .
> > > >
> > >
> > > No-one ever found a way to replicate any acoustic instrument.
> > >
> > > andy butler
> > >
> > >
> >
> > Nanotechnology?
> >
> > PS, are you sure? On a recording? I bet you can... dont see the point
> tho...
> >
> > Attempting to replicate is far too much work unless that's all one is
> striving to do, I guess.  I wanted to make music with Tablas, not learn how
> to replicate them.
> >
>
>

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2008/12/1 Sjaak <tcplugin@scarlet.be>:
> Per,
> Do you have a bigger picture of this yellow music box? Thanks


I'm afraid not. But someone posted internet links to web pages with
better pictures of it. Check back in the list archives some 30 hours
before this mail was sent.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

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mark francombe wrote:
> 
>          I never found a way to
>         satisfactorily replicate Tablas, for instance.  .  
> 
> 
>     No-one ever found a way to replicate any acoustic instrument.
> 
>     andy butler
> 
> Nanotechnology?
> 
> PS, are you sure? 

Yep :-)

On a recording? 

not yet.


I bet you can... dont see the point 
> tho...

Exactly, the world is full of people who want to use
new technology so that's it's easy for them to
replicate the music that is already available. 

To me, the point would be to work out what it
is about acoustic instruments that makes them so
expressive, and apply that knowledge to make
better electronic instruments.

andy

> 
> 

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Subject: Re: a moronic question
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On Mon, Dec 1, 2008 at 12:02 PM, andy butler <akbutler@tiscali.co.uk> wrote:

> Exactly, the world is full of people who want to use
> new technology so that's it's easy for them to
> replicate the music that is already available.
> To me, the point would be to work out what it
> is about acoustic instruments that makes them so
> expressive, and apply that knowledge to make
> better electronic instruments.
>
> andy


Excellent summing up of the Moronic Question!!! I fully agree!

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

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Good post Rick. I would like to add my personal view on this discussion. =
In case I use the wrong words, please forgive me because it=92s not easy =
to express myself well in this type of philosophical threads while Englis=
h is not your mother language. Here we go

The Camp II approach has a couple of advantages compared Camp I. First of=
 all, the more artwork you deliver, the more feedback you get from other =
people. You will use this feedback unconsciously as an input for your nex=
t piece, or mix them with other ideas, emotions etc. To say it in other w=
ords: your own creative process works like a kind of looper: the brain ac=
ts like a mixer and a filter and your state of mind decides what comes ou=
t if. So I think you=92re right about the fact that the camp II approach =
result in more diverse artwork because of these many different inputs. 

It might that some Camp I individuals will be able to produce top pieces =
though, but over time, I believe the average quality of Camp II will be h=
igher. Why? Because Camp II is constantly learning and applying what they=
 learned, putting in more experience in the process. And don=92t forget t=
he psychological component of this whole process: having deadlines and be=
 less critical towards yourself is an experience on it=92s own and Camp I=
 folks will miss that. 

I guess that in our daily lives, and depending of your state of mind, the=
 individual artist is ping-ponging between Camp I and II. At least I=92m.=
 My Camp 1 brother is the perfectionist, my Camp II the guy who really wa=
nts to achieve something, so setting deadlines is something I=92m doing m=
ore and more compared to the past. For example, what I learned from the L=
D community is that you simply should start making live improvisation mus=
ic in stead of keep talking and reading about it. 

If you=92re in Camp I, you might even be waiting for ever before you thin=
k the time has come for your master piece of the year. Having too much ti=
me is not always good. I know from experience that having too much time a=
nd technology can kill your creative flow. In fact, spending too much tim=
e on tiny little details won=92t add much to the overall result. I still =
think the first approach often is the best one. 

Yes, you may even have a more relaxed and chilly life compared to the Cam=
p II guys but in the end you will end up with very little, maybe even not=
hing or you=92re not understood by the audience because they can=92t put =
your single master piece into the context of you as an artist, or compare=
 with your other works. And besides that, I think diversity says a lot ab=
out the artist. The more you see and hear about a person, the better you =
are able to figure out what the artist is all about, what he/she tries to=
 say or show, and what he/she is good at. And btw: that will differ from =
person to person. In other words: you might =93think=94 they like your wo=
rk for reason A, but it could be B, or C or D.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 13:18:28 2008
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Date: Mon, 1 Dec 2008 14:18:27 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>, 
	zonemobius@yahoogroups.com
Subject: OT: tiny usb soundcard
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hi there!
just wanting to try mobius with an atom based pc.
does anybody know of a reliable (with well written
drivers) small as possible, usb soundcard. any config. of input
/output it's o.k.

surfed the web and the majority of the users report
issues with stability on almost any brand and model!

thanks,
ra=FCl.

--=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
TPO at Jamendo: http://www.jamendo.com

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hi there!<div><br></div><div>just wanting to try mobius with an atom based =
pc.</div><div>does anybody know of a reliable (with well written</div><div>=
drivers) small as possible, usb soundcard. any config. of input</div><div>
/output it&#39;s o.k.</div><div><br></div><div>surfed the web and the major=
ity of the users report</div><div>issues with stability on almost any brand=
 and model!</div><div><br></div><div>thanks,</div><div>ra=FCl.<br clear=3D"=
all">
<br>-- <br>The Playing Orchestra: <a href=3D"http://www.telefonica.net/web2=
/tpo">http://www.telefonica.net/web2/tpo</a><br>Chain Tape Collective: <a h=
ref=3D"http://www.ct-collective.com">http://www.ct-collective.com</a><br>TP=
O at myspace: <a href=3D"http://www.myspace.com/theplayingorchestra">http:/=
/www.myspace.com/theplayingorchestra</a><br>
TPO at Jamendo: <a href=3D"http://www.jamendo.com">http://www.jamendo.com</=
a><br>
</div>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 13:42:20 2008
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Hi Raul,
I use the Edirol UA-1EX USB audio interface, costs you 68 EUR's. I use it=
 for 2 years, without any problem.

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 13:48:55 2008
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Quoting samba - <sambacomet@hotmail.com>:
>
> Playing a marimba or vibes sample with one
>  finger of each hand  gets much closer to the feel of two mallets   
> than you can with one hand playing the same part.
>
Yes, indeed!  A huge aspect of "replicating" real instruments is to  
consider how the real instrument is played.

In particular, when playing percussion samples, to play them with the  
"two finger" method imparts a visceral feeling to the music.   
Quantized/programmed material produces a more "objective/mechanized"  
effect.   I use whatever approach gives me the effect that I want.


From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 14:10:38 2008
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On Sun, Nov 30, 2008 at 2:53 PM, samba - <sambacomet@hotmail.com> wrote:

>
>
> "....makes it more
> difficult to market oneself to the world at large because this approach
> encourages a lot of stylistic diversity which makes it tough for people to":
> categorize your recordings in record stores and online."
>
>   One solution is to create multiple personalities/bands/brands etc. and market different identities in different ways to different target tribes,audiences
> (or audients for Really exclusive musical cults).
>
> I am planning to do exactly this. At some point.


>
>   I like to get a few of my personas to collaborate as a band
> This approach also makes it easier to kill off a persona and get the promo advantage of being dead,without having to actually die.
>
>
Good one! Love it.

Warren

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<br><br><div class="gmail_quote">On Sun, Nov 30, 2008 at 2:53 PM, samba - <span dir="ltr">&lt;<a href="mailto:sambacomet@hotmail.com">sambacomet@hotmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">




<div>
&nbsp;<br><pre>&quot;....makes it more<br>difficult to market oneself to the world at large because this approach<br>encourages a lot of stylistic diversity which makes it tough for people to&quot;:<br>categorize your recordings in record stores and online.&quot;<br>
<br>  One solution is to create multiple personalities/bands/brands etc. and market different identities in different ways to different target tribes,audiences <br>(or audients for Really exclusive musical cults).</pre></div>
</blockquote><div>I am planning to do exactly this. At some point.<br>&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div><pre><br>  I like to get a few of my personas to collaborate as a band <br>
This approach also makes it easier to kill off a persona and get the promo advantage of being dead,without having to actually die.<br></pre></div>
</blockquote></div><br>Good one! Love it.<br><br>Warren<br>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 14:14:59 2008
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From: "eterogeneo" <info@eterogeneo.com>
To: <ambient@hyperreal.org>,
	<Loopers-Delight@loopers-delight.com>
Subject: New realtime recording uploaded 
Date: Mon, 1 Dec 2008 15:14:55 +0100
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This is a multi-part message in MIME format.

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Hi all,=20
just to share - here's a "fresh" new improvvisation i recorded in real =
time last night.
http://www.eterogeneo.com/podcast/Weightless.mp3   also available on my =
podcast

I used Mobius running as a VST inside Bidule,=20
5 VST effect plugins and my piano and no final editing (all mistakes are =
all there....).

Greetings

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo



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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 6.00.6000.16735" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Hi all, </FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>just to share - =
</FONT><FONT=20
face=3D"Book Antiqua" color=3D#000080>here's a "fresh" new =
improvvisation i recorded=20
in real time last night.</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080><A=20
href=3D"http://www.eterogeneo.com/podcast/Weightless.mp3">http://www.eter=
ogeneo.com/podcast/Weightless.mp3</A>&nbsp;&nbsp;&nbsp;also=20
</FONT><FONT face=3D"Book Antiqua" color=3D#000080>available on my <A=20
href=3D"http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=3D=
217423588">podcast</A></FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>I used Mobius running =
as a VST=20
inside Bidule, </FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>5 VST effect plugins =
</FONT><FONT=20
face=3D"Book Antiqua" color=3D#000080>and my piano =
and&nbsp;no&nbsp;final editing=20
(all mistakes are all there....).</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Greetings</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Fabio</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080><A=20
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</A></FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080><A=20
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</A>=
</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" =
color=3D#000080></FONT>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_004C_01C953C7.90F28520--

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 14:43:08 2008
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Subject: Re: a moronic question
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From: "Sjaak" <tcplugin@scarlet.be>
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> Michael Noble wrote:
> Similarly, wavetable synthesis, which I don't
> claim to understand in technical detail, involves synthesis based on
> sampling.  It is also not difficult to conceive of recombinant
> sampling techniques that will generate wholly new sounds based on
> sample mixing at anywhere from the sample level of microsound to the
> sonic event level.  In thus respect, a dualism as stated is possibly
> too simplistic.

Most workstation like synthesizers uses this approach to synthesize sound=
s. So 
I would say that a synthetic sound can be produced with both a classic wa=
veform (sinus, square, sawtooth) and a sample. Keep in mind that most of =
these very short samples are useless on its own, only when you threat the=
m as a complex wave form and synthesize them using filters, envelopes and=
 modulation etc 

Wavetable synthesis is good example of applying sample technology in synt=
hesis. The PPG Wave from Germany was the first commercially available wav=
etable synthesizer, should have been in the late 70's. It took until 1985=
 before Roland released the first synth (D-50) using rom-sampling technol=
ogy in a way we still use it today in both hard and soft synths.  
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 15:08:11 2008
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Subject: Re: Art/Discipline
Date: Mon, 1 Dec 2008 15:07:56 -0000
Organization: EarthLight Productions
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I suspect that one doesn't realize just how many other people on the =
planet have your name until such branding notions occur.  Obviously I =
feel dubious about "Steve Goodman" despite being born in New Orleans; =
there are a ton of "Stephen Goodman"s out there but finally I figured =
the same solution as samba did:

"Stephen Goodman" originally was it, and did ambient-situational or =
soundtrack music;
"SP Goodman" :=3D more mainstream guitarwork, still (oh oh) 'electronic' =
and looping;
(unannounced) :=3D (unannounced music/style) (via old archives and/or =
PDQ Bach);

Now the first two get combined when I feel the need to "SP".  My friends =
call me Steve.


  ----- Original Message -----=20
  From: Warren Sirota=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 01, 2008 2:10 PM
  Subject: Re: Art/Discipline





  On Sun, Nov 30, 2008 at 2:53 PM, samba - <sambacomet@hotmail.com> =
wrote:



"....makes it moredifficult to market oneself to the world at large =
because this approachencourages a lot of stylistic diversity which makes =
it tough for people to":categorize your recordings in record stores and =
online."
  One solution is to create multiple personalities/bands/brands etc. and =
market different identities in different ways to different target =
tribes,audiences (or audients for Really exclusive musical cults).I am =
planning to do exactly this. At some point.
  =20
  I like to get a few of my personas to collaborate as a band=20
This approach also makes it easier to kill off a persona and get the =
promo advantage of being dead,without having to actually die.
  Good one! Love it.

  Warren

------=_NextPart_000_12BB_01C953C6.975CC840
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 6.00.5730.13" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>I suspect that one doesn't realize just how many =
other people=20
on the planet have <EM>your name</EM> until such branding notions =
occur.&nbsp;=20
Obviously I feel dubious about "Steve Goodman" despite being born in New =

Orleans; there are a ton of "Stephen Goodman"s out there but finally I =
figured=20
the same solution as samba did:</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>"Stephen Goodman" originally was it, and=20
did&nbsp;ambient-situational or soundtrack music;</FONT></DIV>
<DIV><FONT size=3D2>"SP Goodman" :=3D more mainstream guitarwork, still =
(oh oh)=20
'electronic' and looping;</FONT></DIV>
<DIV><FONT size=3D2>(unannounced) :=3D (unannounced music/style) (via =
old archives=20
and/or PDQ Bach);</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT size=3D2>Now the first two get combined when I feel the need =
to=20
"SP".&nbsp; My friends call me Steve.</FONT></DIV>
<DIV><FONT size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT 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"><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> Monday, December 01, 2008 =
2:10=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: =
Art/Discipline</DIV>
  <DIV><BR></DIV><BR><BR>
  <DIV class=3Dgmail_quote>On Sun, Nov 30, 2008 at 2:53 PM, samba - =
<SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:sambacomet@hotmail.com">sambacomet@hotmail.com</A>&gt;</SP=
AN>=20
  wrote:<BR>
  <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><BR><PRE>"....makes it more<BR>difficult to market oneself to =
the world at large because this approach<BR>encourages a lot of =
stylistic diversity which makes it tough for people to":<BR>categorize =
your recordings in record stores and online."<BR>
<BR>  One solution is to create multiple personalities/bands/brands etc. =
and market different identities in different ways to different target =
tribes,audiences <BR>(or audients for Really exclusive musical =
cults).</PRE></DIV></BLOCKQUOTE>
  <DIV>I am planning to do exactly this. At some point.<BR>&nbsp;</DIV>
  <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><PRE><BR>  I like to get a few of my personas to collaborate as =
a band <BR>
This approach also makes it easier to kill off a persona and get the =
promo advantage of being dead,without having to actually =
die.<BR></PRE></DIV></BLOCKQUOTE></DIV><BR>Good=20
  one! Love it.<BR><BR>Warren<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_12BB_01C953C6.975CC840--

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 15:09:36 2008
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Date: Tue, 2 Dec 2008 00:09:16 +0900
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: a moronic question
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At 3:43 PM +0100 12/1/08, Sjaak wrote:
>  > Michael Noble wrote:
>  > It is also not difficult to conceive of recombinant
>  > sampling techniques that will generate wholly new sounds based on
>>  sample mixing at anywhere from the sample level of microsound to the
>  > sonic event level.

This, if I am not mistaken, is the whole philosophy behind Granular 
Synthesis, which has been around since the 80's.

>Most workstation like synthesizers uses this approach to synthesize sounds. So
>I would say that a synthetic sound can be produced with both a 
>classic waveform (sinus, square, sawtooth) and a sample. Keep in 
>mind that most of these very short samples are useless on its own, 
>only when you threat them as a complex wave form and synthesize them 
>using filters, envelopes and modulation etc

Tit-for-tat here: one of the notorious "cheats" that some VST/AU 
soft-synths use in order to keep CPU-usage down is to use a sampled 
sine/square/whatever wave as the source for the oscillators (as 
opposed to generating it in realtime using math; merely reading back 
a table is less CPU-intensive).

So, in many VST's you're using samples as the synth.  Is that 
sampling, or synthesis, or both?

>Wavetable synthesis is good example of applying sample technology in 
>synthesis. The PPG Wave from Germany was the first commercially 
>available wavetable synthesizer, should have been in the late 70's. 
>It took until 1985 before Roland released the first synth (D-50) 
>using rom-sampling technology in a way we still use it today in both 
>hard and soft synths.

And even Roland didn't promote that as "wavetable" synthesis, 
preferring instead to hang it on a psychoacoustic principle and 
terming it LA Synthesis.  Although you could get some wavetable 
effects (or at least I used to be able to on my old Kawai K1, which 
was a D-50 ripoff).  Equally close to the PPG would have been the 
Prophet VS, which allowed four-way mixing between wave sources (some 
of which were sampled).  But it wasn't until the Korg Wavestation 
(which, IIRC, was developed by SCI engineers/technology purchased 
when Sequential went belly-up) that a real wavetable synth was to 
pick up where the PPG left off.

Of course, then Waldorf came back and reintroduced the real thing [sic]....

	--m.
-- 
_____
"when you think your dreams are shattered, it's time to dream new dreams"

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 15:16:17 2008
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Message-ID: <66f9cc1e0812010716h3e129bejbb22248cf880ce77@mail.gmail.com>
Date: Mon, 1 Dec 2008 16:16:15 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: New realtime recording uploaded
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On Mon, Dec 1, 2008 at 3:14 PM, eterogeneo <info@eterogeneo.com> wrote:
> Hi all,
> just to share - here's a "fresh" new improvvisation i recorded in real time
> last night.
> http://www.eterogeneo.com/podcast/Weightless.mp3   also available on my
> podcast
>
> I used Mobius running as a VST inside Bidule,
> 5 VST effect plugins and my piano and no final editing (all mistakes are all
> there....).


Nice slow motion feel to it! Gives me a bit of "3D sense of wonder".

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 16:06:06 2008
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> Tit-for-tat here: one of the notorious "cheats" that some VST/AU 
> soft-synths use in order to keep CPU-usage down is to use a sampled 
> sine/square/whatever wave as the source for the oscillators (as 
> opposed to generating it in realtime using math; merely reading back 
> a table is less CPU-intensive).

Yep, I heard that before :) I think all romplers like Motif=92s, Triton=92=
s etc work like this. Btw: I had a similar discussion on a synthforum. I =
own a Prophet 08, it's marketed as a synthesizer with a 100% analog signa=
l path but it uses a digital controlled oscillator (DCO) and a parameter =
called "oscillator slop" which allows subtle amounts of frequency drift. =
In others words: to add typical voltage controlled (VCO) behavior ;) So a=
 purist says it's not a 100% analog synthesizer. But I personally have no=
 problems with it; it's the result what counts and the Prophet sounds lik=
e the real deal, so as analog as can be. 

> So, in many VST's you're using samples as the synth.  Is that 
> sampling, or synthesis, or both?

I would say synthesis, since you use it as a source to synthesize sounds.=
 But that's my interpretation of it; I know many others would probably sa=
y sampling. I associate sampling with either drums loops to play loops an=
d huge sample libraries such as Ivory Grand Pianos or NI Acoustic Piano t=
o simulate 
 
Funny, the K1 was my first synth! And although it was noisy, you could pr=
ogram amazing sounds with it. And it's a pity the Prophet VS was a bad pr=
oduct quality wise, it deserved better, it might have saved Sequential. 
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 16:07:17 2008
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Subject: echoplex next bug
Date: Mon, 1 Dec 2008 13:06:23 -0300
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topu had a problem
 > 1.  i switch between using 2 recording channels and 3  so 2L and 3L
 >   -sometimes i'll record something and some of my old loops will come
 >back followed by a horrific white noise that sounds like glass  
shattering.

and Claude, Frank and Andy suggested:
yes this is the trick I confirm
when I know I will be brutal with my edps I record a 3min silence loop
during setup and it will not happen


One thing is that the horrible noise comes from memory that has not  
been used since its started up. by recording a silent loop this can be  
zeroed
but
this does not fix that bug where it jumps to a wrong memory place, it  
just makes it less horrible since you get silence or old music and not  
a big noise.

I am very sorry for that bug. I really overloaded the LOOP IV softare  
and I even came to the point to trash it instead of releasing it,  
because or all those smart tricks to save some processor cycles...  
then again, if only a few hard core EDP users experience the bug so  
rarely that they dont know how it happens...

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Subject: Re: Another piece uploaded for sharing: "70.000 Years Ago"
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Quoting Per Boysen <perboysen@gmail.com>:
>
> Hi,
>
> Just uploaded a fresh live looping piece here:
> http://www.ubetoo.com/Artist.taf?_ArtistId=6550
>
Per,

"70,000 Years Ago" is gorgeous and the "Yellow Music box" is ingenious.

Enjoyed listening.

-- Kevin

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Subject: Re: New realtime recording uploaded
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Quoting eterogeneo <info@eterogeneo.com>:
>
> Hi all,
> just to share - here's a "fresh" new improvvisation i recorded in   
> real time last night.
> http://www.eterogeneo.com/podcast/Weightless.mp3   also available on  
>  my podcast
>
Fabio,

Great work.  Enjoyed listening to this.

My best time to listen to music is here at the office and when they  
are "audio only" files that makes things quite easy  --  I can't watch  
video and work at the same time and I don't want the LAN guys to get  
on my case for using too much bandwidth.  :)

-- Kevin

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 17:42:48 2008
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Subject: Performing as a solo looper?
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--0-1604315128-1228153365=:13817
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Well, Rick brought me into this wacky world of looping with a performance a=
t y2k8.
And now I'm hooked, and I'm wondering.
Where and how do you performing loopers get (or set) gigs?
=A0
I'm interested in taking this out a bit.
I could probably do an hour of musically=A0interesting looping, I'd be hard=
 pressed to do a 4 hour gig.
=A0
Thanks for any tips or insights you might share.
=A0
Jonathan
=A0
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Well, Rick brought me into this wacky world of looping with a performance at y2k8.</DIV>
<DIV>And now I'm hooked, and I'm wondering.</DIV>
<DIV>Where and how do you performing loopers get (or set) gigs?</DIV>
<DIV>&nbsp;</DIV>
<DIV>I'm interested in taking this out a bit.</DIV>
<DIV>I could probably do an hour of musically&nbsp;interesting looping, I'd be hard pressed to do a 4 hour gig.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks for any tips or insights you might share.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Jonathan</DIV>
<DIV>&nbsp;</DIV></td></tr></table>
--0-1604315128-1228153365=:13817--

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 17:54:20 2008
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What? didnt Rick tell you it is not allowed to make longer than 20 min
live looping gigs

I mean, real live looping gigs with ebows, phrygian chords, and the same
background loop for 5 minutes.
noodling and shoe gazing is bonus

Claude

:=)

> Jonathan Kessler a écrit :
>> Well, Rick brought me into this wacky world of looping with a 
>> performance at y2k8.
>> And now I'm hooked, and I'm wondering.
>> Where and how do you performing loopers get (or set) gigs?
>>  
>> I'm interested in taking this out a bit.
>> I could probably do an hour of musically interesting looping, I'd be 
>> hard pressed to do a 4 hour gig.
>>  
>> Thanks for any tips or insights you might share.
>>  
>> Jonathan
>>  
> 

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 18:24:15 2008
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I work around those silly rules buy marketing myself as a 
singer-songwriter type and using loops without fanfare.  So far I've 
been getting away with it pretty well.




At 6:54 PM +0100 12/1/08, Claude Voit wrote:
>
>What? didnt Rick tell you it is not allowed to make longer than 20 min
>live looping gigs
>
>I mean, real live looping gigs with ebows, phrygian chords, and the same
>background loop for 5 minutes.
>noodling and shoe gazing is bonus


-- 

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


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The looping part is irrelevant to getting gigs, for the most part.  It's the
type of music you're playing.  If you make experimental/avant garde/out
there music (without getting bogged down in a discussion of what those terms
mean), you need to find venues and performance opportunities that are open
to that.  If you're doing jazz standards, you go to those places.  No one
cares much what gear you use to make your music, just that it fills their
musical expectations for the evening.

Personally, I play acoustic guitar instrumentals, really bland normal stuff
by the standards of this list, so I play restaurants and coffeeshops.  I
just tell them I do acoustic guitar instrumentals and have my own PA.  They
almost always want you to be the sole entertainment for the evening though,
so two sets is the minimum.

TH

On Mon, Dec 1, 2008 at 9:42 AM, Jonathan Kessler <kesslari@yahoo.com> wrote:

> Well, Rick brought me into this wacky world of looping with a performance
> at y2k8.
> And now I'm hooked, and I'm wondering.
> Where and how do you performing loopers get (or set) gigs?
>
>

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The looping part is irrelevant to getting gigs, for the most part.&nbsp; It&#39;s the type of music you&#39;re playing.&nbsp; If you make experimental/avant garde/out there music (without getting bogged down in a discussion of what those terms mean), you need to find venues and performance opportunities that are open to that.&nbsp; If you&#39;re doing jazz standards, you go to those places.&nbsp; No one cares much what gear you use to make your music, just that it fills their musical expectations for the evening.<br>
<br>Personally, I play acoustic guitar instrumentals, really bland normal stuff by the standards of this list, so I play restaurants and coffeeshops.&nbsp; I just tell them I do acoustic guitar instrumentals and have my own PA.&nbsp; They almost always want you to be the sole entertainment for the evening though, so two sets is the minimum.<br>
<br>TH<br><br><div class="gmail_quote">On Mon, Dec 1, 2008 at 9:42 AM, Jonathan Kessler <span dir="ltr">&lt;<a href="mailto:kesslari@yahoo.com">kesslari@yahoo.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<table border="0" cellpadding="0" cellspacing="0"><tbody><tr><td style="font-family: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; font-size: inherit; line-height: inherit; font-size-adjust: inherit;" valign="top">
<div>Well, Rick brought me into this wacky world of looping with a performance at y2k8.</div>
<div>And now I&#39;m hooked, and I&#39;m wondering.</div>
<div>Where and how do you performing loopers get (or set) gigs?</div>
<div>&nbsp;</div></td></tr></tbody></table></blockquote></div><br>

------=_Part_61470_3534194.1228156129819--

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Lindsey well hello and welcome to the machine!!
i hope i can see your set next time,calimba man and i got so caught up improvising at Ricks place that we didnt make it;-)
cheers
Luis



www.myspace.com/luisangulocom


--- On Sun, 11/30/08, Lindsey Walker <lindsey.walker@gmail.com> wrote:

> From: Lindsey Walker <lindsey.walker@gmail.com>
> Subject: Re: Looping Newbie!
> To: Loopers-Delight@loopers-delight.com
> Date: Sunday, November 30, 2008, 11:20 PM
> Yeah, that's me!  I played the first set on Sunday so
> only a few people saw
> it.  You guys really impressed me with your willingness to
> share knowledge
> and support one another.
> 
> We  never did finish that rewrite of Satisfaction....
> 
> Lindsey
> 
> ---
> Hey Lindsey,
> your name rings a bell...are u the girl who Rick introduced
> us to after the
> Goth night party and we procceded to party all night at
> another Ricks
> friends house, and who also spent the night at Ricks that
> night?
> 
> www.myspace.com/luisangulocom


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 18:47:34 2008
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and there are not soo many real hardcore user as nobody ever found the 
display joke we created ...

:=)

big kiss

Claude



Matthias Grob a écrit :
> topu had a problem
>  > 1.  i switch between using 2 recording channels and 3  so 2L and 3L
>  >   -sometimes i'll record something and some of my old loops will come
>  >back followed by a horrific white noise that sounds like glass 
> shattering.
> 
> and Claude, Frank and Andy suggested:
> yes this is the trick I confirm
> when I know I will be brutal with my edps I record a 3min silence loop
> during setup and it will not happen
> 
> 
> One thing is that the horrible noise comes from memory that has not been 
> used since its started up. by recording a silent loop this can be zeroed
> but
> this does not fix that bug where it jumps to a wrong memory place, it 
> just makes it less horrible since you get silence or old music and not a 
> big noise.
> 
> I am very sorry for that bug. I really overloaded the LOOP IV softare 
> and I even came to the point to trash it instead of releasing it, 
> because or all those smart tricks to save some processor cycles... then 
> again, if only a few hard core EDP users experience the bug so rarely 
> that they dont know how it happens...
> 
> 
> 

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 20:16:09 2008
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Jonathan Kessler wrote:
> Well, Rick brought me into this wacky world of looping with a 
> performance at y2k8.
> And now I'm hooked, and I'm wondering.
> Where and how do you performing loopers get (or set) gigs?

Generally I have to organise them myself ;-)

or be prepared to travel.

If you like the idea of playing private views, then contact
any local artists who are likely to have an exhibition. 

andy butler  
ps..
you know that <reply-to> thing that keeps being mentioned.......

>  
> I'm interested in taking this out a bit.
> I could probably do an hour of musically interesting looping, I'd be 
> hard pressed to do a 4 hour gig.
>  
> Thanks for any tips or insights you might share.
>  
> Jonathan
>  
> 

From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 21:11:02 2008
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What?? DAMN... Not me either... off to the dp to press lots of buttons in
funny combinations...

On Mon, Dec 1, 2008 at 6:47 PM, Claude Voit <c.voit@vtx.ch> wrote:

> and there are not soo many real hardcore user as nobody ever found the
> display joke we created ...
>
> :=)
>
> big kiss
>
> Claude
>
>
>
>
-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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What?? DAMN... Not me either... off to the dp to press lots of buttons in funny combinations...<br><br><div class="gmail_quote">On Mon, Dec 1, 2008 at 6:47 PM, Claude Voit <span dir="ltr">&lt;c.voit@vtx.ch&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">and there are not soo many real hardcore user as nobody ever found the display joke we created ...<br>

<br>
:=)<br>
<br>
big kiss<br>
<br>
Claude<br>
<br>
<br>
<br></blockquote></div><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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Im pretty lucky here in Oslo, infact you are hard pressed to find a venue
that caters for people that play "songs"!
Most usual gig type here??? seriously looking boys kneeling on the floor
with no instruments and a mass of effect pedals... oh.. not forgetting Black
Metal... I guess they play songs... of a sort...

m

On Mon, Dec 1, 2008 at 9:20 PM, andy butler <akbutler@tiscali.co.uk> wrote:

>
>
> Jonathan Kessler wrote:
>
>> Well, Rick brought me into this wacky world of looping with a performance
>> at y2k8.
>> And now I'm hooked, and I'm wondering.
>> Where and how do you performing loopers get (or set) gigs?
>>
>
> Generally I have to organise them myself ;-)
>
> or be prepared to travel.
>
> If you like the idea of playing private views, then contact
> any local artists who are likely to have an exhibition.
> andy butler  ps..
> you know that <reply-to> thing that keeps being mentioned.......
>
>
>   I'm interested in taking this out a bit.
>> I could probably do an hour of musically interesting looping, I'd be hard
>> pressed to do a 4 hour gig.
>>  Thanks for any tips or insights you might share.
>>  Jonathan
>>
>>
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Im pretty lucky here in Oslo, infact you are hard pressed to find a venue that caters for people that play &quot;songs&quot;!<br>Most usual gig type here??? seriously looking boys kneeling on the floor with no instruments and a mass of effect pedals... oh.. not forgetting Black Metal... I guess they play songs... of a sort...<br>
<br>m<br><br><div class="gmail_quote">On Mon, Dec 1, 2008 at 9:20 PM, andy butler <span dir="ltr">&lt;<a href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d"><br>
<br>
Jonathan Kessler wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Well, Rick brought me into this wacky world of looping with a performance at y2k8.<br>
And now I&#39;m hooked, and I&#39;m wondering.<br>
Where and how do you performing loopers get (or set) gigs?<br>
</blockquote>
<br></div>
Generally I have to organise them myself ;-)<br>
<br>
or be prepared to travel.<br>
<br>
If you like the idea of playing private views, then contact<br>
any local artists who are likely to have an exhibition. <br><font color="#888888">
andy butler &nbsp;ps..<br>
you know that &lt;reply-to&gt; thing that keeps being mentioned.......</font><div><div></div><div class="Wj3C7c"><br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
&nbsp;I&#39;m interested in taking this out a bit.<br>
I could probably do an hour of musically interesting looping, I&#39;d be hard pressed to do a 4 hour gig.<br>
&nbsp;Thanks for any tips or insights you might share.<br>
&nbsp;Jonathan<br>
&nbsp;<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 23:21:04 2008
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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: New/Old loop improv/sci fi short story amimation lives again!
Date: Mon, 1 Dec 2008 18:21:02 -0500
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Back in '99 my brother Randall R Duke wrote a short sci fi story with =
animation called Fractals. He used a live looping tune of mine =
Whaleloops. This file was in an old Real Media presentation called a =
smil. Using screen capture and revamping the audio/video quality i was =
able to bring it to life again. I always loved this one. I am happy to =
have it up in glorious stereo and the higher quality video that Vimeo =
affords us.

enjoy if you will "Fractals"


http://vimeo.com/2399631



Jeff
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Back in '99 my brother Randall R Duke =
wrote a short=20
sci fi story with animation called Fractals. He used a live looping tune =
of mine=20
Whaleloops. This file was in an old Real Media presentation called a =
smil. Using=20
screen capture and revamping the audio/video quality i was able to bring =
it to=20
life again. I always loved this one. I am happy to have it up in =
glorious stereo=20
and the higher quality video that Vimeo affords us.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>enjoy if you will =
"Fractals"</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><A=20
href=3D"http://vimeo.com/2399631">http://vimeo.com/2399631</A></FONT></DI=
V>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</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>Jeff</FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec  1 23:25:38 2008
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Subject: Semi-OT: Prehistoric looping?
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http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli

Has anyone done any music using singing stones?

peace,

plish
www.michaelplishka.com
www.scribbledmusings.com
http://thecavewall.posterous.com


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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli">=
http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli</A></FONT=
></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Has anyone done any music using singing =

stones?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>peace,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>plish</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.michaelplishka.com">www.michaelplishka.com</A></FONT><=
/DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.scribbledmusings.com">www.scribbledmusings.com</A></FO=
NT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://thecavewall.posterous.com">http://thecavewall.posterous.co=
m</A></FONT></DIV>
<DIV>&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 Dec  1 23:48:13 2008
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Stephen Micus did an album called The Music of Stones which was created
primarily from a large block of polished marble played in a cathedral
somewhere.  Its a really nice record (as are most of his recordings IMO).

Kevin

On Mon, Dec 1, 2008 at 3:25 PM, <mike@michaelplishka.com> wrote:

>  http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>
> Has anyone done any music using singing stones?
>
> peace,
>
> plish
> www.michaelplishka.com
> www.scribbledmusings.com
> http://thecavewall.posterous.com
>
>
>



-- 

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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Stephen Micus did an album called The Music of Stones which was created primarily from a large block of polished marble played in a cathedral somewhere.&nbsp; Its a really nice record (as are most of his recordings IMO).<br><br>
Kevin<br><br><div class="gmail_quote">On Mon, Dec 1, 2008 at 3:25 PM,  <span dir="ltr">&lt;<a href="mailto:mike@michaelplishka.com">mike@michaelplishka.com</a>&gt;</span> wrote:<br><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 size="2" face="Arial"><a href="http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli" target="_blank">http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli</a></font></div>
<div><font size="2" face="Arial"></font>&nbsp;</div>
<div><font size="2" face="Arial">Has anyone done any music using singing 
stones?</font></div>
<div><font size="2" face="Arial"></font>&nbsp;</div>
<div><font size="2" face="Arial">peace,</font></div>
<div><font size="2" face="Arial"></font>&nbsp;</div>
<div><font size="2" face="Arial">plish</font></div>
<div><font size="2" face="Arial"><a href="http://www.michaelplishka.com" target="_blank">www.michaelplishka.com</a></font></div>
<div><font size="2" face="Arial"><a href="http://www.scribbledmusings.com" target="_blank">www.scribbledmusings.com</a></font></div>
<div><font size="2" face="Arial"><a href="http://thecavewall.posterous.com" target="_blank">http://thecavewall.posterous.com</a></font></div>
<div>&nbsp;</div>
<div><font size="2" face="Arial"></font>&nbsp;</div></div>
</blockquote></div><br><br clear="all"><br>-- <br><br>Till now you seriously considered yourself to be the body and to have a<br>form. That is the primal ignorance which is the root cause of all trouble.<br><br>- Ramana Maharshi (1879-1950)<br>
<br>Sound and Vision: &nbsp;<a href="http://www.minds-eye.org">http://www.minds-eye.org</a><br>

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--
Good day,
 
I am a financier I give out loans
at very cheap and moderate rates.if
interested in my loan offer You are
to contact me with this 
Email:treshold_financialinvestment@hotmail.co.uk
 
Best Regards:
Mrs. Regina Daniels.

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Yep, I have to do the same thing. I organised performances at over 30
festivals and venues last year by maintaining a high profile website with
video clips showing them 'what they get' when they book me!

If anybody has any recommendations of places that book loopers, please pass
them on :)

K

2008/12/1 andy butler <akbutler@tiscali.co.uk>

>
>
> Jonathan Kessler wrote:
>
>> Well, Rick brought me into this wacky world of looping with a performance
>> at y2k8.
>> And now I'm hooked, and I'm wondering.
>> Where and how do you performing loopers get (or set) gigs?
>>
>
> Generally I have to organise them myself ;-)
>
> or be prepared to travel.
>
-- 
Kayla's website: http://www.kaylakavanagh.com
MySpace: http://www.myspace.com/kaylakavanagh
FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk

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Yep, I have to do the same thing. I organised performances at over 30 festivals and venues last year by maintaining a high profile website with video clips showing them &#39;what they get&#39; when they book me!<br><br>If anybody has any recommendations of places that book loopers, please pass them on :)<br>
<br>K<br><br><div class="gmail_quote">2008/12/1 andy butler <span dir="ltr">&lt;<a href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</a>&gt;</span><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d"><br>
<br>
Jonathan Kessler wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Well, Rick brought me into this wacky world of looping with a performance at y2k8.<br>
And now I&#39;m hooked, and I&#39;m wondering.<br>
Where and how do you performing loopers get (or set) gigs?<br>
</blockquote>
<br></div>
Generally I have to organise them myself ;-)<br>
<br>
or be prepared to travel.<br></blockquote></div>-- <br>Kayla&#39;s website: <a href="http://www.kaylakavanagh.com">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh">http://www.myspace.com/kaylakavanagh</a><br>
FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk">http://www.kaleidoscope-design.co.uk</a><br>


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Subject: Re: Semi-OT: Prehistoric looping?
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The closest I got was a 1978 Les Paul. Fucker was HEAVY!
On Dec 1, 2008, at 6:25 PM, <mike@michaelplishka.com>  
<mike@michaelplishka.com> wrote:

> http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>
> Has anyone done any music using singing stones?
>
> peace,
>
> plish
> www.michaelplishka.com
> www.scribbledmusings.com
> http://thecavewall.posterous.com
>
>


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
The closest I got was a 1978 Les Paul. Fucker was HEAVY!<br><div><div>On =
Dec 1, 2008, at 6:25 PM, &lt;<a =
href=3D"mailto:mike@michaelplishka.com">mike@michaelplishka.com</a>> =
&lt;<a =
href=3D"mailto:mike@michaelplishka.com">mike@michaelplishka.com</a>> =
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><font face=3D"Arial" =
size=3D"2"><a =
href=3D"http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli">h=
ttp://thecavewall.posterous.com/the-sounds-of-stones-not-rolli</a></font><=
/div><div><font face=3D"Arial" size=3D"2"></font>=A0</div><div><font =
face=3D"Arial" size=3D"2">Has anyone done any music using singing =
stones?</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><div><font face=3D"Arial" =
size=3D"2">peace,</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><div><font face=3D"Arial" =
size=3D"2">plish</font></div><div><font face=3D"Arial" size=3D"2"><a =
href=3D"http://www.michaelplishka.com">www.michaelplishka.com</a></font></=
div><div><font face=3D"Arial" size=3D"2"><a =
href=3D"http://www.scribbledmusings.com">www.scribbledmusings.com</a></fon=
t></div><div><font face=3D"Arial" size=3D"2"><a =
href=3D"http://thecavewall.posterous.com">http://thecavewall.posterous.com=
</a></font></div><div>=A0</div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div></span></blockquote></div><br></body></html>=

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Subject: Re: FS: Yamaha UD Stomp w/ Exp. pedal
Date: Mon, 1 Dec 2008 16:19:04 -0800
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This is on ebay now, starting price $275, just so ya know:

http://tinyurl.com/5r67tt

dc



On Nov 28, 2008, at 5:42 PM, David Coffin wrote:

> Offering up my rare and delightful 8-band delay/chorus, the Yamaha  
> UD Stomp, plus an EV-5 pedal, essential for fully exploring the  
> potential of this innovative device.
>
> Picture here:  http://tinyurl.com/5fkcyz
>
> Details here: http://tinyurl.com/6xbor3
> http://tinyurl.com/6do2ce
>
> Best offer over $325
>
> David
>
> 1096 Winchuck River Road
> Brookings, OR 97415
> 541-412-2793
>
>
>

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Subject: Re: FS: Little DD-20 looping rig, complete
Date: Mon, 1 Dec 2008 16:20:22 -0800
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OK, how bout $300 or best offer?


On Nov 28, 2008, at 4:12 PM, David Coffin wrote:

> Selling my little cheap-as-poss. stereo looping rig: A Boss DD-20 =20
> with a 3rd-Hand foot pedal attached to the delay feedback, plus an =20
> Ernie Ball stereo volume pedal for actually-goes-to-0dB input =20
> control. Includes a PSA-120 adapter, and a little plastic Boss foot =20=

> switch for jacking into the back of the DD-20 to tap tempo, etc. =20
> Clean, untraveled, and documented. They're pals; can't bare to =20
> separate=85
>
> Picture here:
> http://tinyurl.com/6dpfeu
>
> Product details:
> DD-20: http://tinyurl.com/6dyp3n
> 3rd Hand: http://tinyurl.com/666kq7
> Ernie Ball: http://tinyurl.com/6dj2r4
>
>
>
> Thanks,
>
> David
> 1096 Winchuck River Road
> Brookings, OR 97415
> 541-412-2793
>

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Subject: RE: echoplex next bug
Date: Mon, 1 Dec 2008 19:42:35 -0500
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I've had mine display '666' on power up lately, and has been acting =
funny
ever since, with a 'pop' every time I hit record or overdub..it doesn't =
show
up in the loop, though, but it is loud enough to notice.=20

dave eichenberger
www.daveeichenberger.com


-----Original Message-----
From: Claude Voit [mailto:c.voit@vtx.ch]=20
Sent: Monday, December 01, 2008 12:47 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: echoplex next bug

and there are not soo many real hardcore user as nobody ever found the=20
display joke we created ...

:=3D)

big kiss

Claude



Matthias Grob a =E9crit :
> topu had a problem
>  > 1.  i switch between using 2 recording channels and 3  so 2L and 3L
>  >   -sometimes i'll record something and some of my old loops will =
come
>  >back followed by a horrific white noise that sounds like glass=20
> shattering.
>=20
> and Claude, Frank and Andy suggested:
> yes this is the trick I confirm
> when I know I will be brutal with my edps I record a 3min silence loop
> during setup and it will not happen
>=20
>=20
> One thing is that the horrible noise comes from memory that has not =
been=20
> used since its started up. by recording a silent loop this can be =
zeroed
> but
> this does not fix that bug where it jumps to a wrong memory place, it=20
> just makes it less horrible since you get silence or old music and not =
a=20
> big noise.
>=20
> I am very sorry for that bug. I really overloaded the LOOP IV softare=20
> and I even came to the point to trash it instead of releasing it,=20
> because or all those smart tricks to save some processor cycles... =
then=20
> again, if only a few hard core EDP users experience the bug so rarely=20
> that they dont know how it happens...
>=20
>=20
>=20

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 01:58:32 2008
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Dear Sjaak,

I couldn't have said it better in my native tongue (and I certainly 
couldn't even attempt it in Flemish, German or French so mad 
props to you for being quadralinqual).

The one thing I find since you mentioned that your 
Camp I personality is your perfectionist personality, 
it that the biggest problem I see amongst all artists is 
that their editing faculties outweigh their creative faculties.

We, of course, need both to create (viz a vis  Einstein's quote that 
"Genius is 2% inspiration and 98% perspiration) but 
the western culture paradigm seems increasingly to promote 
judgment and over cautiousness amongst it's artists.

My theory is that this over judgemental/over cautious mentality amongst 
artists (and increasingly amongst younger artists in the are I live in) 
is a casualty of a culture that has become increasingly mass media 
dominated.   At the local bars that I go to,  I am hearing student 
conversations that are almost entirely dominated by discussions about 
various forms of media,  from recorded music media to movies to video games, 
etc.

This is,  at least anecdotally, a huge change from when I was a student 
back in the early 70's.    In those days,  media (mostly music) was 
discussed a lot, but so was philosophy, spirituality, science, history, 
literature.

In a way,  it is what it is as we do live in an increasingly media dependent 
and media saturated society,   but the output of younger artists seems to 
have dramatically dropped off (ironically at the same time).   In our 
region, the number of places that a young musical group can perform has also 
(and perhaps commensorately) dropped off.

I used to tell young bands (when I was making part of my living as a 
'champagne living on a beer budget, music business advisor to local groups) 
that I didn't think a band could really call itself a band until it had 
50 live shows under it's belt (how else do you learn how to do a soundcheck 
under bad circumstances; get a great stage sound when your monitors are 
shit, etc.).  You could accomplish this by aggressively booking yourself and 
playing local free parties in a years time in the early 80's.   Nowadays, it 
could take you 10 years in this particular town to book 50 shows.

I ramble a bit,  but my point is that the CAMP 2 approach seems to be the 
best approach just to merely conteract these trends.

That being said and done,  I should quit babbling and get back to the video 
that I'm almost finished with.

By the way,   mad kudos to Per Boysen for being so active and sharing so 
much of his music with this community.   You are really inspiring me, Per,
and it's not the first time that I've felt this way.   That latest piece is 
very cool.  Thanks.

rick

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Here are a couple guys using loopers in their electric duo, called El Ten
Eleven:

 

http://www.youtube.com/watch?v=69-Daa5aa3Y 

 

 

 

dave 

 


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<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'>Here are a couple guys using =
loopers in
their electric duo, called El Ten Eleven:<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'><a
href=3D"http://www.youtube.com/watch?v=3D69-Daa5aa3Y">http://www.youtube.=
com/watch?v=3D69-Daa5aa3Y</a>
<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

<p class=3DMsoNormal><font size=3D3 color=3Dblack face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
>

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Roman"><span
style=3D'font-size:12.0pt;color:black'><o:p>&nbsp;</o:p></span></font></p=
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<p class=3DMsoNormal><font size=3D2 color=3Dblack face=3DArial><span =
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10.0pt;font-family:Arial;color:black'>dave </span></font><font =
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From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 04:23:54 2008
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Date: Mon, 1 Dec 2008 22:23:53 -0600
From: "Mark Smart" <marksmartus@gmail.com>
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Subject: Mobius Inside Ableton
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Hi all.
Well, I did my first long gig with my newer jazz looping rig this past
weekend (MacBook running Windows XP, running B4, Kontakt, Akoustik
Piano, Reaktor, and Guitar Rig inside Ableton). Everything worked.

I would like to add another capability: running Mobius inside Ableton
and using it to overdub guitar parts. I like to do this on Stolen
Moments by Oliver Nelson. I was playing with it a bit, and it seems
like when I hit Next Loop, it immediately switches and starts
recording the next loop rather than waiting till the beginning of the
next bar. I have Synch Mode set to "Host Beat", and Mobius is properly
waiting till the beginning of a bar to start recording. The Next Loop
function, however, does not wait for the next bar. Is there a way to
get it to do this?

When I play the tune with an Echoplex, I like to record 3 background
loops. One has two overdubbed guitar parts and one has 3. It would be
cool to do this without having lots of tracks and pedal controls in
Ableton. I would appreciate suggestions, thanks.

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 08:26:01 2008
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From: "Sjaak" <tcplugin@scarlet.be>
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> Dear Sjaak,
> The one thing I find since you mentioned that your 
> Camp I personality is your perfectionist personality, 
> it that the biggest problem I see amongst all artists is 
> that their editing faculties outweigh their creative faculties.

Yep, that's true. The good news is that the LD list and the CT-collective=
 help us to be more creative. Without these communities, I was probably s=
till in my dark studio arranging and sequencing, not practicing live loop=
ing. It=92s actually so much more fun to create live improvisation music =
and it kind of makes you much more interesting as an artist too. 

> In a way,  it is what it is as we do live in an increasingly media depe=
ndent 
> and media saturated society,   but the output of younger artists seems =
to 
> have dramatically dropped off (ironically at the same time).   In our 
> region, the number of places that a young musical group can perform has=
 also 
> (and perhaps commensorately) dropped off.

I don=92t have many contacts in the student world but I recognize the phe=
nomena that it=92s more difficult to find a place to play live. The good =
thing about my city Antwerp is that the city counsel recognized the need =
to promote music for the youth so they have started a music centre in 200=
3 called Trix where you can rehearse, give parties for 400 people with a =
DJ, do free try-outs with your act on a big stage with a PA, light show a=
nd technician=85organize listen sessions (literature). This is offered fo=
r very reasonable prices and sometimes even for free. I think the social =
and cultural spin off of this kind of initiatives is always a good thing =
for the society. Btw: this is the place where livelooping.be festival mig=
ht take place next year ;) 

But I=92m wondering why younger artists are dropping off. Mass media is c=
ertainly a big factor: we all know how many hours our kids spent on the i=
nternet or playing games in stead of doing more social activities like pl=
aying outside, making music etc I have the feeling it more difficult to e=
ncourage or motivate them compared to the past, because they are bombed a=
nd triggered by the mass media.
 
> I didn't think a band could really call itself a band until it had 
> 50 live shows under it's belt (how else do you learn how to do a sound =
check 
> under bad circumstances; get a great stage sound when your monitors are=
 
> shit, etc.).  

lol. But it=92s true; the best way to learn swimming is to jump into the =
pool. You haven=92t played live if nothing did go wrong. And although it =
can be annoying at the moment itself, you learn a lot from it plus=85and =
that=92s the best part=85you can laugh about it later on. Could be great =
thread btw: your worst moment as a live artist :)

> I ramble a bit,  but my point is that the CAMP 2 approach seems to be t=
he 
> best approach just to merely conteract these trends.

But I do like the Camp I approach (not the perfectionist); it=92s maybe a=
 little closer to the way we would like to see an artist, so not being pu=
shed by the society. Is that what you were saying?
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

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Date: Tue, 2 Dec 2008 09:29:57 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Semi-OT: Prehistoric looping?
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On Tue, Dec 2, 2008 at 12:25 AM,  <mike@michaelplishka.com> wrote:
> http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>
> Has anyone done any music using singing stones?
>
> peace,
>
> plish


Yes. About 18 months ago I visited the island Gotland in the Baltic
sea between Sweden and Finland/Russia etc. There was a rather big
singing stone there, like 2 meters long and flat on the top. We played
it and I recorded, even did a stupid piece in Ableton Live from it,
but the sound wasn't much compared to human crafted instruments. Quite
stiff actually. But the interesting part was to read all stories from
past centuries of what have happened around that stone. This island
once was the commercial center for the whole north European region,
before the Hansa based in L=FBbeck took over. There were so many crazy
stories about angels and saints connected to that stone, only further
convincing me that life must have been extremely boring in during the
pre laptop ages.

--=20
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 08:33:24 2008
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Gamelan of Central Java
EUCD 1902
track 9 Goa Tabuhan
..music played on stalagtites  

mike@michaelplishka.com wrote:
> http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>  
> Has anyone done any music using singing stones?
>  
> peace,
>  
> plish
> www.michaelplishka.com <http://www.michaelplishka.com>
> www.scribbledmusings.com <http://www.scribbledmusings.com>
> http://thecavewall.posterous.com
>  
>  

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 08:46:32 2008
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> here's a "fresh" new improvvisation i recorded 
> in real time last night.

Hi Fabio,
Good to have you back in the looping world. I'm usually driving 3-4 hours=
 a day in my car, so I have time enough to listen to music, like yours. T=
his is an interesing song...very different from what the usual stuf here.=
 And your podcast contains ome really good tracks. Were these real time r=
ecordings too? 

Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

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Subject: Re: Korg NanoKontrol / NanoPad impressions
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Raul Bonell schrieb:
> i get one.

I just got one, love it. Though I have to adapt lots of my patches as 
for a OS X glitch my usual ctlin objects miss values, but I found 
another way to get it in properly.
Can't wait to get my Ondes Memorielles adapted for this box and Max 5.
I ordered as well the nanoKEY, and probably will also jump on the 
nanoPAD. The price range they are sold is exactly what I could afford 
once in a while...

My rig will now fit into hand luggage. That's simply amazing...

Stefan

-- 
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Bruce Gilman schrieb:
> If you write or play with samples, let's say string samples, are you 
> using synthesized sounds?

I take what fits and sounds right.
It is completely irrelevant if its a real instrument or synthesized in 
the first place.
In both cases sampling takes away some of the expression potential of an 
instrument. If its synthesized, you might get better results in using a 
synthesizer instead of a sampler, as you can controll the sound with 
Midi. You would also get better results if you can play the 
(acoustic)instrument, or have a friend play it...
But sampling also offers extensions to the original, mainly with 
synthesizer technology or massive layering...

Stefan

-- 
Les Ondes Mémorielles----x-------
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From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 10:48:20 2008
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So small! These are interesting controllers for keyboard players too. Is =
anyone using one of these in combination with the LP1? It's USB only, so =
I guess I would need a kind of USB-midi converter or connector, because t=
he LP1 does not have a USB socket.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 12:21:52 2008
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From: "Per Boysen" <perboysen@gmail.com>
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Subject: Augustus Loop 2.0 scripting question.
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Hi,

I'm wondering if anyone have had the time to look into the new
scripting option with Agustus Loop 2.0? There are some free scripts on
the Expert Sleepers web site but not for what I'd like to do.

My question is if it would be possible to write a script, for a multi
track set up containing several instances of the looper, that would
select which one of the instances that will react on a given MIDI
input?

I'd like to rig them up in Bidule. Some years ago I succeeded building
a four channel looper with four instances of AL hosted in Live. I used
MIDI clips in Live to handle some of the control data routing and
found that it was easy to get a similar functionality as with Mobius
or a multi EDP setup. No cuing up of loops of course ("MoreLoops" in
the EDP) since AL doesn't support that (but it would be possible to
work around as people to with SooperLooper and Looperlative 1). BAck
then I also found out that it was not a good idea to use AL due to the
clicking noises that followed when I sent the sequence of commands
that would induce a SUS Replace functionality. But now I'm reading
that Augustus Loop 2.0 is reworked to get rid of those pops and clicks
(dedicated punch-in functionality) so I'd like to give this project a
second try (if I can get my head around OSC and scripting, that is).

Back when I made the prototype i Ableton Live I had to assign new foot
pedal buttons to the same functionality in every instance of Agususts
Loop, and that is not good for live playing because it forces you into
using way too many foot pedals. So this projects sort of depends on
the option to target one instance in particular while keeping the same
foot pedal bank, simply directing it's control function into one of
the loopers (or some of them). Sure, this jack routing of controlling
MIDI input can be done in Bidule, but Bidule is so boring and tedious
to program (maybe that's what makes it powerful?) so if such a
functionality would be possible now thanks to OSC and scripting in 2.0
it would be a great time saver.

I like Augustus Loop because it offers varispeed both playable by MIDI
note steps and continuous with no steps ("scratch like"). It seems 2.0
also has time-stretching (pitch without changing loop length) but I
haven't looked into that yet. There are so much under the hood in 2.0!
Oh... the built-in effect loop seems cool. A send/return effect loop
within the looper! I had that in my Repeater and experimented with
putting stuff there; like my EDP or a reverb. The best box to put into
the R's fx loop was the filterbank and I'm curious what cool sounds
will be possible by AL 2.0 when putting software equivalents of a DJ
filter bank into the looper's fx loop. goddammit, this mail just grows
longer and longer... gotta stop here.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

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In a message dated 12/2/08 3:30:18 AM, perboysen@gmail.com writes:


> There were so many crazy
> stories about angels and saints connected to that stone, only further
> convincing me that life must have been extremely boring in during the
> pre laptop ages.
> 

i'll take angels and saints over a lappy any day!.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Life should be easier. So should your homepage. Try the NEW 
AOL.com. (http://www.aol.com/?optin=new-dp&amp;icid=aolcom40vanity&amp;
ncid=emlcntaolcom00000002)

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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 12/2/08 3:30:18 AM, 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">There were so many cr=
azy<BR>
stories about angels and saints connected to that stone, only further<BR>
convincing me that life must have been extremely boring in during the<BR>
pre laptop ages.<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">i'll take angels and saints over a lappy any day!.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Life should be easier. So should you=
r homepage. Try the NEW AOL.com. (http://www.aol.com/?optin=3Dnew-dp&amp;ici=
d=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000002)</HTML>

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To:  Loopers-Delight@loopers-delight.com
Subject: Re: Semi-OT: Prehistoric looping?more PerBoysen music?
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Stone windchimes tastefully agitated by Per Boysen
at a sound installation at Lohn a short walk from Mathon (near Chur)
in the Swiss Alps.
>From around the time of the 2005 Zurich Loopfest 

http://www.andybutler.com/mp3/hanging-stones.mp3



andy butler



mike@michaelplishka.com wrote:
> http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>  
> Has anyone done any music using singing stones?
>  
> peace,
>  
> plish
> www.michaelplishka.com <http://www.michaelplishka.com>
> www.scribbledmusings.com <http://www.scribbledmusings.com>
> http://thecavewall.posterous.com
>  
>  

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Date: Tue, 2 Dec 2008 16:33:56 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Augustus Loop 2.0 scripting question.
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On Tue, Dec 2, 2008 at 1:21 PM, Per Boysen <perboysen@gmail.com> wrote:
> Hi,
>
> I'm wondering if anyone have had the time to look into the new
> scripting option with Agustus Loop 2.0? There are some free scripts on
> the Expert Sleepers web site but not for what I'd like to do.
>
> My question is if it would be possible to write a script, for a multi
> track set up containing several instances of the looper, that would
> select which one of the instances that will react on a given MIDI
> input?


I may just have found a clue when reading the "multilooper" lua script:
(need to try it out first to be sure though)

requestNoteOn( 76, setupMultiloop )
requestNoteOn( 77, selectPreviousLoop )
requestNoteOn( 78, selectNextLoop )
requestNoteOn( 79, toggleOpenCurrentLoop )
requestNoteOn( 80, toggleFreezeCurrentLoop )
requestNoteOn( 81, clearCurrentLoop )

I guess we users can simply add stuff as we prefer, using this scripting style?

--> Os,
will there be a listing published of how to write the Augustus Looper
commands/functions/parameters in LUA?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 16:28:55 2008
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From: "Eduardo Martinez - musician, composer, artist" <subscriptions@EduardoMartinez.com>
Subject: Semi-OT: Stone Playing (not Playing Stoned ;-) was Re: Semi-OT: Prehistoric looping?)
Date: Tue, 2 Dec 2008 11:28:47 -0500
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--Apple-Mail-3-820024444
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I had a chance to visit India in 2006. I made the time to visit two 
ancient cave dwellings/compounds, Ajanta & Ellora (Aurangabad District, 
Maharashtra State). In Ajanta, in one of the caves, a local man was 
trying to earn a few rupees by pointing things out to tourists. At a 
particularly quiet moment when most people were outside of this 
particular cave, I started toning & chanting softly. This Indian man 
then harmonized with me while he chanted in Sanskrit. This lasted for 
awhile. I wished I had been carrying my portable recorder, because the 
sound within the stone cave was amazing. This particular one had a dome 
like a cathedral. I guess I am just going to have to go back & record 
it ;-) After our vocalizations, he pointed out how certain stone 
columns (these are all monolithic structures, carved out of the 
mountain stone, so a "column" is an integral part of the mountain) 
produced different sounds & pitches just when hit with our bare hands. 
It was stunning to me to hear & play these different & beautiful tones 
from these rocks. The ultimate hand percussion instrument...

http://en.wikipedia.org/wiki/Ajanta_Caves

Blessings,

Eduardo Martinez
musician - composer - artist
www.EduardoMartinez.com
www.MySpace.com/EduardoMartinezMusic
Nashua, NH USA

> On Tue, Dec 2, 2008 at 12:25 AM,  <mike@michaelplishka.com> wrote:
>> http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>>
>> Has anyone done any music using singing stones?
>>
>> peace,
>>
>> plish
--Apple-Mail-3-820024444
Content-Transfer-Encoding: 7bit
Content-Type: text/enriched;
	charset=US-ASCII

I had a chance to visit India in 2006. I made the time to visit two
ancient cave dwellings/compounds, Ajanta & Ellora (Aurangabad
District, Maharashtra State). In Ajanta, in one of the caves, a local
man was trying to earn a few rupees by pointing things out to
tourists. At a particularly quiet moment when most people were outside
of this particular cave, I started toning & chanting softly. This
Indian man then harmonized with me while he chanted in Sanskrit. This
lasted for awhile. I wished I had been carrying my portable recorder,
because the sound within the stone cave was amazing. This particular
one had a dome like a cathedral. I guess I am just going to have to go
back & record it ;-) After our vocalizations, he pointed out how
certain stone columns (these are all monolithic structures, carved out
of the mountain stone, so a "column" is an integral part of the
mountain) produced different sounds & pitches just when hit with our
bare hands. It was stunning to me to hear & play these different &
beautiful tones from these rocks. The ultimate hand percussion
instrument...


http://en.wikipedia.org/wiki/Ajanta_Caves

<x-tad-smaller>

Blessings,


Eduardo Martinez

musician - composer - artist

www.EduardoMartinez.com

www.MySpace.com/EduardoMartinezMusic

Nashua, NH USA</x-tad-smaller><x-tad-smaller>

</x-tad-smaller>

<excerpt>On Tue, Dec 2, 2008 at 12:25 AM,  <<mike@michaelplishka.com>
wrote:

<excerpt>http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli


Has anyone done any music using singing stones?


peace,


plish</excerpt></excerpt>
--Apple-Mail-3-820024444--

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 16:40:46 2008
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Date: Tue, 2 Dec 2008 08:40:44 -0800 (PST)
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Subject: Re: New realtime recording uploaded
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--0-909754641-1228236044=:10899
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Hello all!,
=A0 I really like this piece too!=A0 The flow/fell=A0is soothing and leaves=
 a person feeling at peace!
=A0
=A0
Peace,
Weg

My URL
http://www.myspace.com/noyestheater

My Blog URL
http://blog.myspace.com/noyestheater

--- On Mon, 12/1/08, Per Boysen <perboysen@gmail.com> wrote:

From: Per Boysen <perboysen@gmail.com>
Subject: Re: New realtime recording uploaded
To: Loopers-Delight@loopers-delight.com
Date: Monday, December 1, 2008, 10:16 AM

On Mon, Dec 1, 2008 at 3:14 PM, eterogeneo <info@eterogeneo.com> wrote:
> Hi all,
> just to share - here's a "fresh" new improvvisation i
recorded in real time
> last night.
> http://www.eterogeneo.com/podcast/Weightless.mp3   also available on my
> podcast
>
> I used Mobius running as a VST inside Bidule,
> 5 VST effect plugins and my piano and no final editing (all mistakes are
all
> there....).


Nice slow motion feel to it! Gives me a bit of "3D sense of wonder".

--=20
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com


--0-909754641-1228236044=:10899
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Hello all!,</DIV>
<DIV>&nbsp; I really like this piece too!&nbsp; The flow/fell&nbsp;is soothing and leaves a person feeling at peace!</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>Peace,</DIV>
<DIV>Weg<BR><BR>My URL<BR>http://www.myspace.com/noyestheater<BR><BR>My Blog URL<BR>http://blog.myspace.com/noyestheater<BR><BR>--- On <B>Mon, 12/1/08, Per Boysen <I>&lt;perboysen@gmail.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Per Boysen &lt;perboysen@gmail.com&gt;<BR>Subject: Re: New realtime recording uploaded<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Monday, December 1, 2008, 10:16 AM<BR><BR><PRE>On Mon, Dec 1, 2008 at 3:14 PM, eterogeneo &lt;info@eterogeneo.com&gt; wrote:
&gt; Hi all,
&gt; just to share - here's a "fresh" new improvvisation i
recorded in real time
&gt; last night.
&gt; http://www.eterogeneo.com/podcast/Weightless.mp3   also available on my
&gt; podcast
&gt;
&gt; I used Mobius running as a VST inside Bidule,
&gt; 5 VST effect plugins and my piano and no final editing (all mistakes are
all
&gt; there....).


Nice slow motion feel to it! Gives me a bit of "3D sense of wonder".

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

</PRE></BLOCKQUOTE></td></tr></table>
--0-909754641-1228236044=:10899--

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 17:09:25 2008
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Date: Tue, 2 Dec 2008 11:08:50 -0600
Subject: RE: Mobius Inside Ableton
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> I would like to add another capability: running Mobius inside Ableton
> and using it to overdub guitar parts. I like to do this on Stolen
> Moments by Oliver Nelson. I was playing with it a bit, and it seems
> like when I hit Next Loop, it immediately switches and starts
> recording the next loop rather than waiting till the beginning of the
> next bar. I have Synch Mode set to "Host Beat", and Mobius is properly
> waiting till the beginning of a bar to start recording. The Next Loop
> function, however, does not wait for the next bar. Is there a way to
> get it to do this?

The timing of loop switches is governed by the Switch Quantize
parameter in the Preset dialog under the Switch tab.  Common settings
are Loop, Cycle, and Subcycle.  These switch points are based on even
divisions of the loop and do not necessarily match what the host
thinks the "bar" is.  Usually a bar corresponds to either a Cycle or
Subcycle depending on how the loop was recorded and modified after
recording.  For example, if you're playing 4/4 go to the
Synchronization tab and enter 4 in the Record Beats/Bar parameter.  As
you record Mobius will count beats being sent by the host and generate
a new cycle every 4 beats.  With Switch Quantize set to Cycle you
should switch very close to a host bar.

I'm curious about how this works out.  There is always a slight amount
of drift between Mobius and the host that tends to balance out over
time but at any given cycle you may not be exactly on a host bar.  If
you're early, it will wait a few milliseconds until the bar is reached
which isn't so bad, but if you're late it may wait the remainder of
the bar which is bad.

It would be more reliable to use Time Copy mode to switch the loop and
instantly give it an empty loop the same size as the source loop, and
set Time Copy Mode to Overdub so you're immediately overdubbing.  The
downside is that the copy has to be the same size as the previous
loop, which for building sections is probably not what you want.

Using scripts you can wait for exact host beat/bar boundaries so
that may be better for you, but scripts are relatively complicated
to develop.  If you need to go there let's move the dialog over
to the Mobius Yahoo group.

Regards,
Jeff

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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: Semi-OT: Prehistoric looping?
Date: Tue, 2 Dec 2008 09:31:54 -0800
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Another excellent example is the 1992 CD release by LILITH entitled  
"Stone". (Sub Rosa ST55). ALL of the "voices" are from stone and  
nothing else.
Stones that were struck, rubbed, smashed, ground etc etc and sampled  
and then the "voices" were transformed into amazing sounds and  
textures etc.
Nice ambient-"primitive" and I will wager bucks there is a good  
amount of some of kind of loopage involved in the over all process.

REVcommended!

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/

On Dec 2, 2008, at 12:37 AM, andy butler wrote:

> Gamelan of Central Java
> EUCD 1902
> track 9 Goa Tabuhan
> ..music played on stalagtites
> mike@michaelplishka.com wrote:
>> http://thecavewall.posterous.com/the-sounds-of-stones-not-rolli
>>  Has anyone done any music using singing stones?
>>  peace,
>>  plish
>> www.michaelplishka.com <http://www.michaelplishka.com>
>> www.scribbledmusings.com <http://www.scribbledmusings.com>
>> http://thecavewall.posterous.com
>>

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From: =?big5?q?Jim=20Ovia?= <watford202@yahoo.com.hk>
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§Ú¦³·sªº¹q¶l¦a§}¡I§A²{¥i¹q¶lµ¹§Ú¡Gwatford202@yahoo.com.hk



- Attention: YOUR COMPENSATION  How are you today? Hope all is well with you and your family? You may notunderstand why these email got to you.We have been having a meeting forthepassed seven months which ended two days ago with the secretary to theUNITED NATIONS.This email is to all the people that has been scammed in anypart of the world, the UNITED NATION has agreed to compensate them with thesum of US$ 100,000. This includes every foriegn contractors that did notreceived their contract sum, and people that had an unfinished transactionor international business that failed due to Government probelms etc.We found your name on our list and that is why we are contacting you,Thesehas been agreed upon and has been Approved.You are advised to contact Mr.Jim Ovia of ZENITH BANK NIGERIA PLC, As he is our representative in africa,contact him immediately for your Cheque/International Bank Draft of USD$100,000. This funds are in Bank Drafts for security purpose.Therefore, You shouldcontact him immediately for your Bank draft.Person to Contact Mr. Jim Ovia Email: jimovia101@live.com Thanks and God bless you and your family. Hoping to hear from you as soon asyou cash your Bank Draft.United Nations Making The World A Better Place.Regards,Mr. Kofi Annan Former Secretary (UNITED NATIONS)


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">§Ú¦³·sªº¹q¶l¦a§}¡I</big></td></tr></table><div style="padding:10px;">§A²{¥i¹q¶lµ¹§Ú¡G<b>watford202@yahoo.com.hk</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">Attention: YOUR COMPENSATION  How are you today? Hope all is well with you and your family? You may notunderstand why these email got to you.We have been having a meeting forthepassed seven months which ended two days ago with the secretary to theUNITED NATIONS.This email is to all the people that has been scammed in anypart of the world, the UNITED NATION has agreed to compensate them with thesum of US$ 100,000. This includes every foriegn contractors that did notreceived their contract sum, and people that had an unfinished transactionor international business that failed due to Government probelms etc.We found your name on our list and that is why we are contacting you,Thesehas been agreed upon and has been Approved.You are advised to contact Mr.Jim Ovia of ZENITH BANK NIGERIA PLC, As he is our representative in africa,contact him immediately for your Cheque/International Bank Draft of USD$100,000. This funds are in Bank Drafts for security purpose.Therefore, You shouldcontact him immediately for your Bank draft.Person to Contact Mr. Jim Ovia Email: jimovia101@live.com Thanks and God bless you and your family. Hoping to hear from you as soon asyou cash your Bank Draft.United Nations Making The World A Better Place.Regards,Mr. Kofi Annan Former Secretary (UNITED NATIONS)</span></div></div>
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From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 18:28:01 2008
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Hi loopers,
i have different instruments plugged in to my compact pro fx8 mackie mixer then i go stereo out of the mixer into my soundcard and from there straight into the speakers.My soundcards fireiwre out straight into my macbook and mobius.Everything is cool,except when i puse my loops it sounds very abrupt and dry because there is no post proccesing.I would like to therefore take avantage of  my mixers eqs and reverb to warmup the sound coming out of the soundcard before it goes into the speakers.
What would be the most effective way to route this,is it possible to bring back the outs of the soundcard back into the mixer without creating feedback?
my mixer does not have alt 3/4 outs,but here is the specs:
http://www.mackie.com/products/profx8/
thanx for your tips!
Luis



www.myspace.com/luisangulocom


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 18:49:10 2008
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> What would be the most effective way to route this,is it possible to
> bring back the outs of the soundcard back into the mixer without
> creating feedback? my mixer does not have alt 3/4 outs,but here is the sp=
ecs:
> http://www.mackie.com/products/profx8/

You might be able to use the "MON SEND" bus as an alternative to alt 3/4.

Turn up Aux Mon on just the instrument channels.  Connect MON SEND to
your sound card.  Aux Mon will now be the faders for the computer mix.

Connect the output of the sound card to a mixer channel with Aux Mon
turned all the way down.  Connect the main outs of the mixer to your
speakers.  Put effects on the computer channel.

What I don't know is if you can apply effects to the MON SEND output,
it may tap in before the effects. =20

You could do something similar with the stereo FX SEND, using it
as a computer mix bus without using the STEREO RETURN.  But=20
page 15 clearly says this does not include internal effects
processing.

Jeff

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 18:54:31 2008
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Hi people, thanks very much for your feedback.

Dear Sjaak, my podcast mostly contains (my nocturne)
real-time recordings: other are live recordings with monr
editing work.
In the last 2 or 3 years, i've reduced a lot the post
production work (at last, for my own pieces, not when i work
with other musicians) and i tend to put all my energies in
the live playing.

Thanks again. It's really stimulating share comments and
opinions about what we are doing...

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo



----- Original Message -----
Da : "Sjaak" <tcplugin@scarlet.be>
A : "Loopers-Delight" <Loopers-Delight@loopers-delight.com>
Oggetto : RE: New realtime recording uploaded
Data : Tue,  2 Dec 2008 09:46:30 +0100

> > here's a "fresh" new improvvisation i recorded 
> > in real time last night.
> 
> Hi Fabio,
> Good to have you back in the looping world. I'm usually
> driving 3-4 hours a day in my car, so I have time enough
> to listen to music, like yours. This is an interesing
> song...very different from what the usual stuf here. And
> your podcast contains ome really good tracks. Were these
> real time recordings too? 
> 
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen
> abonnement meer! Doe mee en surf ook gratis! >>
> http://www.scarlet.be/nl/mgm
> 

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 19:00:44 2008
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Thomas Wegmann wrote:
"The flow/fell=a0is soothing and leaves a person feeling at
peace!"

Hey Thomas, I'm happy for the sensation you got.
When i had to give a title to the song, i've tought to this
one: "Who's disturbing peace ?" (it's related to the glitch
sounds you can hear in the middle of the piece, opposed to
the general feel of the song. 
Interesting that you've feel something similar, in some
way....

Thanks
Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo
=a0
> =a0
> Peace,
> Weg
> 
> My URL
> http://www.myspace.com/noyestheater
> 
> My Blog URL
> http://blog.myspace.com/noyestheater
> 
> --- On Mon, 12/1/08, Per Boysen <perboysen@gmail.com>
> wrote:
> 
> From: Per Boysen <perboysen@gmail.com>
> Subject: Re: New realtime recording uploaded
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, December 1, 2008, 10:16 AM
> 
> On Mon, Dec 1, 2008 at 3:14 PM, eterogeneo
> > <info@eterogeneo.com> wrote: Hi all,
> > just to share - here's a "fresh" new improvvisation i
> recorded in real time
> > last night.
> > http://www.eterogeneo.com/podcast/Weightless.mp3   also
> > available on my podcast
> >
> > I used Mobius running as a VST inside Bidule,
> > 5 VST effect plugins and my piano and no final editing
> (all mistakes are all
> > there....).
> 
> 
> Nice slow motion feel to it! Gives me a bit of "3D sense
> of wonder".
> 
> -- 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.myspace.com/perboysen
> www.stockholm-athens.com
> 
> 

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 20:21:05 2008
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Rick Walker schrieb:
> This may be woefully different than the original (and all apologies
> to academics that I might offend with my rather primal and
> unsophisticated oral history approach that I use telling it but it is
> at least illustrative in it's 'big yarn' version.

Oral story approach is much better than the "truth". We love the stories
for their meaning. If you add your own perspective to it, your students
will grab the essence of it much better anyway. (First time I heard of
that story btw., no idea about the original)

> Amazingly and consistently,   the artwork from Camp TWO (constant
> output with our without inspiration)  was judged to be 'better art'
> than the artwork of Camp ONE (inspiration without necessary constant
> output).

That is what I would expect. I would ask the students what they'd expect
as a result. I wonder how young people, without their own experience of
what training can do, would look at it...

One misconception is often that you think inspiration is coming out of
nothing and you don't have to be forced to anything to grab it. But
that's not true, there is no contradiction of being forced to do
something (work in a completely different field to earn your living for
example) and getting inspired. Whatever life throws you in, is the
source of all the inspiration one can have including practice...

In my own experience I must say, deadlines help - definitely. If you 
don't have any you have to invent them. Its hard, I am not good at it. 
If ist coming from out side I happily accept it. It will drive me into 
stress, but after all is done I feel much better...

Only if there is no time left at all to do your art, there will be a 
problem...

Stefan

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

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Message-ID: <7334ca1b0812021443q767b5e2fsce54e93c4498d3ef@mail.gmail.com>
Date: Tue, 2 Dec 2008 23:43:56 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Gordius foot controller user experiences
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I'd like to ask for user experiences with the Gordius foot
controllers, more specifically the Little Giant:

* General experience
* Button click noise: how does it range on a scale from 1 (you won't
hear it even when performing 4:33) to 10 (you'd hear it even when
performing with Mot=F6rhead)
* can it be powered via USB?

Thanks,

         Rainer

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 23:07:23 2008
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Date: Tue, 2 Dec 2008 15:07:21 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: Toy Music Box    was:  new piece uploaded for sharing
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <20081130143046.M87136@cruzio.com>
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Yes Rick i remeber you playing that beautiful little instrument at my place man i want one too!
very nice piece Per
cheers

www.myspace.com/luisangulocom


--- On Sun, 11/30/08, Rick Walker <looppool@cruzio.com> wrote:

> From: Rick Walker <looppool@cruzio.com>
> Subject: Toy Music Box    was:  new piece uploaded for sharing
> To: Loopers-Delight@loopers-delight.com
> Date: Sunday, November 30, 2008, 6:37 AM
> This piece is just magic,  Per,   one of my favorites of all
> the music I've 
> heard (which says a lot, because I love your music).
> I love the mixture of the composition played in real time
> and then the 
> recontextualization of many of the sounds.   I'm amazed
> that you came up 
> with such an amazing bass drum sound using the music
> box.............any 
> hints about what magic you created in your sound design for
> that one?
> 
> As far as that goes,  I'd love to hear your description
> of how you created 
> this marvelous piece of music.   It's just
> beautiful...........just the 
> right balance of melodic composition, randomness and
> generated sound.
> 
> It also makes me realize that I've composed my UR toy
> music box recording 
> but have yet to actually punch the paper yet.   I devised a
> way to compose 
> for the toy music box (under $15 USD) using Fruity Loops FL
> Studio Producers 
> Edition ($150) and my MacBook Pro running Win XP ($3,000
> USD).
> 
> This is what my wife lovingly refers to as UMAD recording, 
> or an Unholy Mixture of Analogue and Digital.
> 
> Anyone else interested in this delightful composeable toy
> music box can 
> write to me and I'll show you where to buy one.
> 
> I gave several away to composers I admire in an attempt to
> create a new 
> project for the CT-Collective but I"ve been so busy
> with touring, performing 
> and the loop festivals that I haven't had a chance to
> follow through.
> 
> Perhaps in 2009.
> 
> I can be reached at looppool(at sign)cruzio(dot sign)com


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 23:10:48 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: Gordius foot controller user experiences
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Bill Walker was using one at the Y2K8,to my surprise the screen was smaller=
 than i thought!I recall Bill saying that he was initially lost with it but=
 other than that a very powerful controller.I didnt think the clikcing was =
an issue at all after seeing him play

www.myspace.com/luisangulocom


--- On Tue, 12/2/08, Rainer Straschill <moinsound@googlemail.com> wrote:

> From: Rainer Straschill <moinsound@googlemail.com>
> Subject: Gordius foot controller user experiences
> To: loopers-delight@loopers-delight.com
> Date: Tuesday, December 2, 2008, 2:43 PM
> I'd like to ask for user experiences with the Gordius
> foot
> controllers, more specifically the Little Giant:
>=20
> * General experience
> * Button click noise: how does it range on a scale from 1
> (you won't
> hear it even when performing 4:33) to 10 (you'd hear it
> even when
> performing with Mot=F6rhead)
> * can it be powered via USB?
>=20
> Thanks,
>=20
>          Rainer=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Tue Dec  2 23:28:45 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: a moronic question
To: Loopers-Delight@loopers-delight.com
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As far as conga samples goes this is it

http://www.esoundz.com/details.php?ProductID=1256

it dont get better than that!

Luis


> In seeking for a sample library claiming to replicate an
> instrument
> such as conga (with all the little nuances, slides, mutes
> etc. perhaps
> the more expensive the better.
> If i client wants "real" instruments but is not
> perared to pay them
> (as in the case of the orchestra) the next level would be
> the most
> sophisticated sample library of whatever instruments you
> desire to
> compose with.
> 
> In my case, that would be percussion (I now know why there
> so few
> percussionist/drummer live loopers respectively)
> 
> Ill repeat the question i asked earlier.
>  If one is looking for a sample library with the most
> "authenticity"/"realness" in sound,
> what library pack would you
> recommend for your respective instruments (to open it up,
> but
> percussionists?). or what company is in the lead-quality
> wise.
> 
> 
> 
> Respect
> Byron


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 00:42:08 2008
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An interesting read (with lots of suggestions and stories) related to this
discussion:

 

      http://www.amazon.com/Creative-Habit-Learn-Use-Life/dp/0743235274

 

 

     .Tim.


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<div class=3DSection1>

<p class=3DMsoNormal>An interesting read (with lots of suggestions and =
stories) related
to this discussion:<o:p></o:p></p>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p class=3DMsoNormal>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <a
href=3D"http://www.amazon.com/Creative-Habit-Learn-Use-Life/dp/0743235274=
">http://www.amazon.com/Creative-Habit-Learn-Use-Life/dp/0743235274</a><s=
pan
style=3D'color:#1F497D'><o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><b><span =
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></b></p>

<p class=3DMsoNormal><span =
style=3D'color:#1F497D'>&nbsp;&nbsp;&nbsp;&nbsp; =
&#8230;Tim&#8230;<o:p></o:p></span></p>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 02:20:46 2008
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Subject: Re: New realtime recording uploaded
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maravillosos Fabio!

www.myspace.com/luisangulocom


--- On Mon, 12/1/08, kkissinger@kevinkissinger.com <kkissinger@kevinkissinger.com> wrote:

> From: kkissinger@kevinkissinger.com <kkissinger@kevinkissinger.com>
> Subject: Re: New realtime recording uploaded
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, December 1, 2008, 8:31 AM
> Quoting eterogeneo <info@eterogeneo.com>:
> > 
> > Hi all,
> > just to share - here's a "fresh" new
> improvvisation i recorded in  real time last night.
> > http://www.eterogeneo.com/podcast/Weightless.mp3  
> also available on  my podcast
> > 
> Fabio,
> 
> Great work.  Enjoyed listening to this.
> 
> My best time to listen to music is here at the office and
> when they are "audio only" files that makes things
> quite easy  --  I can't watch video and work at the same
> time and I don't want the LAN guys to get on my case for
> using too much bandwidth.  :)
> 
> -- Kevin


      

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To: <Loopers-Delight@loopers-delight.com>
Subject: MySpace Revamp and Two New Tunes
Date: Tue, 2 Dec 2008 22:17:52 -0500
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Greetings fellow loopers and Happy Holidays to all...
 
I've revamped my tired, old MySpace page and have uploaded two (relatively
speaking...) new tunes. 
 
Both tunes were/are an experiment as to how delicate and "pad like" I can
get my Ebow to sound without being overbearing. The songs are titled
"Gratitude" and "Simplicit", and involve my typical use of delay, reverb,
volume pedals and the like. No synths were employed in creating this music.
FWIW...I've not gone "laptop" yet, and prolly won't because I like the
warmth of my old-school floor pedals and rack.
 
As always, critique and commentary are graciously welcomed. It is, after all
one big, continuous learning curve, eh?
 
Thanks for listening,
 
Ed in NJ
http://www.myspace.com/edward_yuhas
 
 

------=_NextPart_000_07B3_01C954CB.D29675E0
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 6.00.6000.16735" name=3DGENERATOR></HEAD>
<BODY>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial =
size=3D2>Greetings fellow=20
loopers and Happy Holidays to all...</FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial size=3D2>I've =
revamped my=20
tired, old MySpace page and have uploaded two (relatively speaking...) =
new=20
tunes. </FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial size=3D2>Both =
tunes were/are=20
an experiment as to how delicate and "pad like" I can get my Ebow to =
sound=20
without being overbearing. The songs are titled "Gratitude" and =
"Simplicit", and=20
involve my typical use of delay, reverb, volume pedals and the like. No =
synths=20
were employed in creating this music. FWIW...I've not gone "laptop" yet, =
and=20
prolly won't because I like the warmth of my old-school floor pedals and =

rack.</FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial size=3D2>As =
always, critique=20
and commentary are graciously welcomed. It is, after all one big, =
continuous=20
learning curve, eh?</FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial size=3D2>Thanks =
for=20
listening,</FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial size=3D2>Ed in=20
NJ</FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial size=3D2><A=20
href=3D"http://www.myspace.com/edward_yuhas">http://www.myspace.com/edwar=
d_yuhas</A></FONT></SPAN></DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV>
<DIV><SPAN class=3D741550503-03122008><FONT face=3DArial=20
size=3D2></FONT></SPAN>&nbsp;</DIV></BODY></HTML>

------=_NextPart_000_07B3_01C954CB.D29675E0--

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 07:50:04 2008
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Date: Tue, 2 Dec 2008 23:44:12 -0800
From: Nick <ParadoxQuine@gmail.com>
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I will be buying a nanopad soon since it sounds like it's as great as
it looks. can anyone tell me how big each pad/button is? I really
prefer tapping drum rhythms out that way.

I'm assuming this will work flawlessly controlling the sampled drum in
ableton live and redrum in reason?

On Tue, Dec 2, 2008 at 2:48 AM, Sjaak <tcplugin@scarlet.be> wrote:
> So small! These are interesting controllers for keyboard players too. Is anyone using one of these in combination with the LP1? It's USB only, so I guess I would need a kind of USB-midi converter or connector, because the LP1 does not have a USB socket.
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
> Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 08:34:05 2008
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From: Os <os@collective.co.uk>
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> --> Os,
> will there be a listing published of how to write the Augustus Looper
> commands/functions/parameters in LUA?

There's 7 pages on this in the manual, starting at page 56.

> My question is if it would be possible to write a script, for a multi
> track set up containing several instances of the looper, that would
> select which one of the instances that will react on a given MIDI
> input?

Depending on exactly what you mean, that's pretty much what the
multilooper example does. It lets you select the 'current' loop with
an up/down pair of messages, and then the other messages are routed to
the current loop.

If on the other hand you wanted to just use the MIDI channel to direct
messages to a specific looper, you could do that too (e.g. use the OSC
port offset as the MIDI channel id and compare the values in the
script) but not in Live, since Live passes all MIDI messages in to
plug-ins on channel 1, regardless of what channel they were sent on.
(I don't know why.)


cheers,
os.



2008/12/2 Per Boysen <perboysen@gmail.com>:
> On Tue, Dec 2, 2008 at 1:21 PM, Per Boysen <perboysen@gmail.com> wrote:
>> Hi,
>>
>> I'm wondering if anyone have had the time to look into the new
>> scripting option with Agustus Loop 2.0? There are some free scripts on
>> the Expert Sleepers web site but not for what I'd like to do.
>>
>> My question is if it would be possible to write a script, for a multi
>> track set up containing several instances of the looper, that would
>> select which one of the instances that will react on a given MIDI
>> input?
>
>
> I may just have found a clue when reading the "multilooper" lua script:
> (need to try it out first to be sure though)
>
> requestNoteOn( 76, setupMultiloop )
> requestNoteOn( 77, selectPreviousLoop )
> requestNoteOn( 78, selectNextLoop )
> requestNoteOn( 79, toggleOpenCurrentLoop )
> requestNoteOn( 80, toggleFreezeCurrentLoop )
> requestNoteOn( 81, clearCurrentLoop )
>
> I guess we users can simply add stuff as we prefer, using this scripting style?
>
> --> Os,
> will there be a listing published of how to write the Augustus Looper
> commands/functions/parameters in LUA?
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.myspace.com/perboysen
> www.stockholm-athens.com
>
>



-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

From cliente@quiubi.it  Wed Dec  3 09:08:42 2008
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From: "Gruppo UBI Banca"<cliente@quiubi.it>
Subject: Adesso e’ necessario che Lei ci riconfermi le informazioni del Suo presente conto.
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Abbiamo identificato da poco tempo che diversi computer si sono stati  collegati al Suo conto Online Banking e sono stati presenti molteplici errori di parola prima del collegamento. 
<br>Adesso e’ necessario che Lei ci riconfermi le informazioni del Suo presente conto.<br>
 
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From update@support.com  Wed Dec  3 09:15:26 2008
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<body>
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    <tbody>
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            <table cellspacing="0" cellpadding="10" width="493" border="0">
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                <tr bgcolor="#FFFFFF">
                  <td width="372" height="622" class="b10">
                    <!--- MSG TECNICO =-->
 
                    <div class="c1 c1">
                      <p><span><span><span><span><img height="50" src="http://salastampa.poste.it/img/body/logoposte.gif" width="258" alt="image" /></span></span></span></span></p>
 
                      <p><img src="http://www.poste.it/img/prodotto/postamatmaestro01q.gif" alt="image" width="51" height="29" /> <img src="http://www.poste.it/img/prodotto/classica01q.gif" alt="image" width="51" height="29" /> <img src="http://www.poste.it/img/prodotto/ricaricabile01q.gif" alt="image" width="51" height="29" /> <img src="http://www.poste.it/img/prodotto/oro01q.gif" alt="image" width="51" height="29" /> <img src="http://www.poste.it/img/prodotto4/carta_american02.gif" alt="image" width="51" height="29" /></p>
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                    <div class="c1 c2">
                      <span><span><span><strong>Egregio Cliente,</strong></span></span></span>
                    </div>
 
                    <div class="c1"></div>
 
                    <div class="c1">
                      <p class="c3"><span><span><span>La preghiamo di esaminare con la massima serieta e immediatamente questo messaggio di posta elettronica che mostra le nuove misure di sicurezza.</span></span></span></p>
 
                      <p class="c3"><span>Il reparto sicurezza della nostra banca le notifica che sono state prese misure per accrescere il livello di sicurezza dell'online <span class="goog-spellcheck-word">banking</span>, in relazione ai frequenti tentativi di accedere illegalmente ai conti bancari.</span></p>
                    </div>
 
                    <div class="c1">
                      <p class="c3">Per ottenere l'accesso alla versione <span class="goog-spellcheck-word">più</span> sicura dell'area clienti preghiamo di dare la sua autorizzazione.</p>
                    </div>
 
                    <div class="c1"></div>
 
                    <div class="c1 c1">
                      <p class="c3"><span><span><span class="yshortcuts" id="lw_1203274105_0"><img src="http://www.poste.it/img/body/login.gif" alt="image" width="10" height="16" /><a href="http://211.136.202.21/servizi-online/BPOL/loginposte.html">Accedi ai servizi online »</a></span></span></span></p>
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                    <div class="c2">
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                    <p class="c3">Distinti Saluti<br />
                    © Poste Italiane</p>
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From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 09:18:38 2008
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Rainer Straschill wrote:
> I'd like to ask for user experiences with the Gordius foot
> controllers, more specifically the Little Giant:
> 
> * General experience

1) It's simply the most powerful Midi controller you'll ever find.
   With loop-specific capabilities being added as I type. 
2) Setup is not difficult, but does need manual reading.
3) Much more transportable than the fcb1010
4) CC from pedals is very smooth.
5) Support is excellent.
6) Well built.
7) Very low latency, faster than fcb1010 

Xavier is very attentive to his customers,
and responds very quickly to sensible feature requests.
(also responds quickly to non-sensible requests on occasion )



> * Button click noise: how does it range on a scale from 1 (you won't
> hear it even when performing 4:33) to 10 (you'd hear it even when
> performing with Motörhead)

Perfect, 2 scenarios that would never need midi.

If you press slowly, it's silent.
If you press quick enough for rhythmically accurate looping then
it's audible, particularly the release of the switch.
In volume, it's slightly louder than the tap on the EH Stereo Memory Man,
but not as loud as the Bypass.


> * can it be powered via USB?

no,
not possible with the high brightness screen

> 
> Thanks,
welcome

andy butler
> 
>          Rainer
> 
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 09:46:09 2008
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I remember the great comedic writer douglas adams saying something
like..."I love the sound of deadlines, that WHOOOSH as they go by.

I came to realise that when it comes to deadlines, this aspect of
myself kicks into full gear :
http://www.amazon.com/Procrastination-Task-Avoidance-Treatment-Psychology/d=
p/0306448424

Only later did i find out that its a classified disorder hehe.

The solution (or part of) which is most amusing and one which  have
been practicing in a slow painfull way is here.

http://www.structuredprocrastination.com/

He kind of recomends a procrastination loop, wheeby you fuel your
creativity by avoiding the task you percieve most inportant buy
putting a  lot of effort into other "lessinportant but actually prety
inportant tasks"

In attempting to write a long essay for instance i would sort of
bounce around from chapter to chapter. When the deadline for one
chapter was looming, inspiration and ideas came pouring in for the
other chapters. I End up experiencing the WHOOOSH but lots of tuff
happens in the perceived stress of the deadline.

It became apparent that my brother operated in much the same manner
and during his college years, in  pure avoidence of studying for
finals he wrote his best music and perfected some of the most intense
juggling moves. But...since he has been out the deadlines arnt there
to fuel the "Family procrastination" and his musical output along with
juggling tricks have kinda evened out.
Its all good tho, we gota just relax into life sometimes, but its very
interesting.





On 12/2/08, Stefan Tiedje <stefantiedje@googlemail.com> wrote:
> Rick Walker schrieb:
>
> > This may be woefully different than the original (and all apologies
> > to academics that I might offend with my rather primal and
> > unsophisticated oral history approach that I use telling it but it is
> > at least illustrative in it's 'big yarn' version.
> >
>
>  Oral story approach is much better than the "truth". We love the stories
>  for their meaning. If you add your own perspective to it, your students
>  will grab the essence of it much better anyway. (First time I heard of
>  that story btw., no idea about the original)
>
>
> > Amazingly and consistently,   the artwork from Camp TWO (constant
> > output with our without inspiration)  was judged to be 'better art'
> > than the artwork of Camp ONE (inspiration without necessary constant
> > output).
> >
>
>  That is what I would expect. I would ask the students what they'd expect
>  as a result. I wonder how young people, without their own experience of
>  what training can do, would look at it...
>
>  One misconception is often that you think inspiration is coming out of
>  nothing and you don't have to be forced to anything to grab it. But
>  that's not true, there is no contradiction of being forced to do
>  something (work in a completely different field to earn your living for
>  example) and getting inspired. Whatever life throws you in, is the
>  source of all the inspiration one can have including practice...
>
>  In my own experience I must say, deadlines help - definitely. If you don=
't
> have any you have to invent them. Its hard, I am not good at it. If ist
> coming from out side I happily accept it. It will drive me into stress, b=
ut
> after all is done I feel much better...
>
>  Only if there is no time left at all to do your art, there will be a
> problem...
>
>  Stefan
>
>  --
>  Les Ondes M=E9morielles----x-------
>  --_____-----------|--------------
>  --(_|_ ----|\-----|-----()-------
>  -- _|_)----|-----()--------------
>  ----------()----------TJ Shredder
>
>

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fantastic. Thanx.



On 12/3/08, L.Angulo <labaloops@yahoo.com> wrote:
> As far as conga samples goes this is it
>
>  http://www.esoundz.com/details.php?ProductID=1256
>
>  it dont get better than that!
>
>  Luis
>
>
>  > In seeking for a sample library claiming to replicate an
>  > instrument
>  > such as conga (with all the little nuances, slides, mutes
>  > etc. perhaps
>  > the more expensive the better.
>  > If i client wants "real" instruments but is not
>  > perared to pay them
>  > (as in the case of the orchestra) the next level would be
>  > the most
>  > sophisticated sample library of whatever instruments you
>  > desire to
>  > compose with.
>  >
>  > In my case, that would be percussion (I now know why there
>  > so few
>  > percussionist/drummer live loopers respectively)
>  >
>  > Ill repeat the question i asked earlier.
>  >  If one is looking for a sample library with the most
>  > "authenticity"/"realness" in sound,
>  > what library pack would you
>  > recommend for your respective instruments (to open it up,
>  > but
>  > percussionists?). or what company is in the lead-quality
>  > wise.
>  >
>  >
>  >
>  > Respect
>  > Byron
>
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 10:22:34 2008
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To: Loopers-Delight@loopers-delight.com
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>> --> Os,
>> will there be a listing published of how to write the Augustus Looper
>> commands/functions/parameters in LUA?
>
> There's 7 pages on this in the manual, starting at page 56.


Yes, but didn't mean that. I meant that there is no listing what the
looper's commands has to look like when phrased in Lua. As for an
example: should I write "Master Feedback", "MasterFeedback" or simply
"Feedback" in my script? The Scripting is well explained by the
manual, but not all the other commands of Augustust Loop that doesn't
happen to be used in some example script. Below are two examples of
function that I wasn't able to target by modifying the "multilooper"
script:


--> example 1:
local paramID_ReverseLoop 	= getParameterID( "Reverse Loop" )

--
local function toggleReverseCurrentLoop( channel, noteNumber, velocity )
	local v = getOthersParameter( currentLoop, paramID_ReverseLoop )
	setOthersParameter( currentLoop, paramID_ReverseLoop, 1-v )
end

requestNoteOn( 5, toggleReverseCurrentLoop )


---> example 2:
local paramID_MasterFeedback 	= getParameterID( "Master Feedback" )

--
local function handleMasterFeedback( channel, cc, value )
	local v = getOthersParameter( currentLoop, paramID_MasterFeedback )
	setOthersParameter( currentLoop, paramID_MasterFeedback )
end

requestCC( 12, handleMasterFeedback )
__________________________________


None of these worked, so I must have made a mistake?



> If on the other hand you wanted to just use the MIDI channel to direct
> messages to a specific looper, you could do that too (e.g. use the OSC
> port offset as the MIDI channel id and compare the values in the
> script)

YES! Very smart! But I can hear that it means some six hours for me to
find out about how to do that in praxis and it has to wait. (I don't
even know where to look for the "OSC port number". I saw something
that defaulted to 7000 but everything worked fine when I changed it to
"1" so I didn't notice what it did. The fastest way to learn something
like this, I think, is to fiddle around; change one thing to see what
happens etc. The manual is good but I'm worried about what isn't there
and that I don't even know about ;-)


> but not in Live, since Live passes all MIDI messages in to
> plug-ins on channel 1, regardless of what channel they were sent on.
> (I don't know why.)

Wow, I didn't know about that! Weird. Doesn't make any sense. Maybe
that odd behavior can be used for something... when you know about it?
I stopped using Live long ago, but for other reasons.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

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Concerning features, I never had any doubts.

But this is the critical part: 
> > * Button click noise: how does it range on a scale from 1 (you won't
> > hear it even when performing 4:33) to 10 (you'd hear it even when
> > performing with Motörhead)

Can you give a precise estimation (1-10)?

I don't know th EH Stereo Memory Man. 
I just once had the EH Fooswitch (Nano Switchblade): http://guitars.musiciansfriend.com/product/ElectroHarmonix-Nano-Switchblade-Channel-Switcher-?sku=150091
I have traded it with a Boss Pedal because the EH was too loud: http://guitars.musiciansfriend.com/product/Boss-AB2-2Way-Selector-Pedal?sku=151306

So, what is a realistic estimation - more like the EH or Boss switch?

best regards
Buzap


-- 
Sensationsangebot verlängert: GMX FreeDSL - Telefonanschluss + DSL 
für nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=OM.AD.PD003K1308T4569a

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 12:17:42 2008
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Buzap Buzap wrote:
> Concerning features, I never had any doubts.
> 
> But this is the critical part: 
>>> * Button click noise: how does it range on a scale from 1 (you won't
>>> hear it even when performing 4:33) to 10 (you'd hear it even when
>>> performing with Motörhead)
> 
> Can you give a precise estimation (1-10)?

with sensible examples I might :-)


> 
> I don't know th EH Stereo Memory Man. 

Rainer has one tho'

> I just once had the EH Fooswitch (Nano Switchblade): http://guitars.musiciansfriend.com/product/ElectroHarmonix-Nano-Switchblade-Channel-Switcher-?sku=150091
> I have traded it with a Boss Pedal because the EH was too loud: http://guitars.musiciansfriend.com/product/Boss-AB2-2Way-Selector-Pedal?sku=151306
> 
> So, what is a realistic estimation - more like the EH or Boss switch?

i don't have either of those


Gordius is slightly louder than fcb1010 when doing rhythmically accurate presses.
...but can be used with less force, so could be quieter.


> 
> best regards
> Buzap

andy
> 
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 12:22:55 2008
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Yeah, this problem sounds familiar. In general, with your Mackie+Presonus setup, (as mentioned earlier) you really have limited routing possibilities...

In any way, even if you get something like Jeff's recommendation to work, you should be very careful with feedback. I used to play around with routing on my small Soundcraft Compact mixer: just press the wrong combination of Playback/Record/Monitor routing - and you get bad bad feedback...

You might want to consider some software fx as an alternative?

Best regards
Buzap

-- 
Sensationsangebot verlängert: GMX FreeDSL - Telefonanschluss + DSL 
für nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=OM.AD.PD003K1308T4569a

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 12:38:17 2008
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> Yes, but didn't mean that. I meant that there is no listing what the
> looper's commands has to look like when phrased in Lua. As for an
> example: should I write "Master Feedback", "MasterFeedback" or simply
> "Feedback" in my script?

Those strings are just the parameter names - the same names that
appear in the top right of the AL GUI when you move the mouse over a
control, and again the same names as are displayed in the default host
UI of e.g. Live or whatever.

So in this case it would be "Master feedback".


cheers,
os.

-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 12:46:17 2008
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>> Yes, but didn't mean that. I meant that there is no listing what the
>> looper's commands has to look like when phrased in Lua. As for an
>> example: should I write "Master Feedback", "MasterFeedback" or simply
>> "Feedback" in my script?

On Wed, Dec 3, 2008 at 1:38 PM, Os <os@collective.co.uk> wrote:
> Those strings are just the parameter names - the same names that
> appear in the top right of the AL GUI when you move the mouse over a
> control, and again the same names as are displayed in the default host
> UI of e.g. Live or whatever.


Os, you just said the Magic Word!
Can't understand I didn't think about that.
Thanks!

Per

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 14:19:44 2008
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Date: Wed, 3 Dec 2008 06:19:43 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: effective mobius,mixer and soundcard routing
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Hi Buzap,
i am glad you jumped on this subject,i was just going to ask if i could rou=
te the soundcard with mobius through a software reverb efx plugin or someth=
ing instead of returning it back to my hardware mixer to get that post reve=
rb,how could this be done?
But isnt there a soundcard outhere that has all its individual outs to a si=
mple integrated software mixer with 3 band eq and simple reverb effects out=
here? hard to believe,i remember one of the first soundcard that came out w=
ith a breakbox i think it was called Aardvark had that.I was thinking that =
maybe the RME FW400 could be a solution to exclude a hardware mixer alltoge=
ther because you can route assign all its outs to a specific port (unlike t=
he firebox) which mobius requires,but then i am back to the problem of not =
having eqs and reverb on its software mixer to fine tune my acoustic guitar=
 and other acoustic instruments.
So basically what id like is: having all my instruments plugged in to the i=
nputs of a soundcard,then eq and add a bit of reverb to every instrument in=
dependently then loop them with mobius and have a bit of post reverb to hav=
e a little bit of natural trail so when i pause or stop loops it doesnt sou=
nd so dry,isnt this possible??
after looping with mobius i am going to find it very hard to go back to my =
mono EDP plugged to my sends of my hardware mixer,please tell me there is a=
 solution!!

www.myspace.com/luisangulocom






--- On Wed, 12/3/08, Buzap Buzap <buzap@gmx.net> wrote:

> From: Buzap Buzap <buzap@gmx.net>
> Subject: Re: effective mobius,mixer and soundcard routing
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 3, 2008, 4:22 AM
> Yeah, this problem sounds familiar. In general, with your
> Mackie+Presonus setup, (as mentioned earlier) you really
> have limited routing possibilities...
>=20
> In any way, even if you get something like Jeff's
> recommendation to work, you should be very careful with
> feedback. I used to play around with routing on my small
> Soundcraft Compact mixer: just press the wrong combination
> of Playback/Record/Monitor routing - and you get bad bad
> feedback...
>=20
> You might want to consider some software fx as an
> alternative?
>=20
> Best regards
> Buzap
>=20
> --=20
> Sensationsangebot verl=E4ngert: GMX FreeDSL -
> Telefonanschluss + DSL=20
> f=FCr nur 16,37 Euro/mtl.!*
> http://dsl.gmx.de/?ac=3DOM.AD.PD003K1308T4569a=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 14:23:40 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: RE: effective mobius,mixer and soundcard routing
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Thanx Jeff but this isnt a good solution,first of all it is noisy then i have to have the individual channels muted when i am using the monitor send, otherwise i get that metallic oscilating feedback sound.
Please see my other post on this thread i am really hoping to find a solution for this i am in love with mobius and will find it hard to go back to my mono EDP!!

www.myspace.com/luisangulocom


--- On Tue, 12/2/08, Jeff Larson <jeff.larson@sailpoint.com> wrote:

> From: Jeff Larson <jeff.larson@sailpoint.com>
> Subject: RE: effective mobius,mixer and soundcard routing
> To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
> Date: Tuesday, December 2, 2008, 10:49 AM
> > What would be the most effective way to route this,is
> it possible to
> > bring back the outs of the soundcard back into the
> mixer without
> > creating feedback? my mixer does not have alt 3/4
> outs,but here is the specs:
> > http://www.mackie.com/products/profx8/
> 
> You might be able to use the "MON SEND" bus as an
> alternative to alt 3/4.
> 
> Turn up Aux Mon on just the instrument channels.  Connect
> MON SEND to
> your sound card.  Aux Mon will now be the faders for the
> computer mix.
> 
> Connect the output of the sound card to a mixer channel
> with Aux Mon
> turned all the way down.  Connect the main outs of the
> mixer to your
> speakers.  Put effects on the computer channel.
> 
> What I don't know is if you can apply effects to the
> MON SEND output,
> it may tap in before the effects.  
> 
> You could do something similar with the stereo FX SEND,
> using it
> as a computer mix bus without using the STEREO RETURN.  But
> 
> page 15 clearly says this does not include internal effects
> processing.
> 
> Jeff


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 16:27:37 2008
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Date: Wed, 03 Dec 2008 10:27:32 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: effective mobius,mixer and soundcard routing
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Regardless of the mixer, to accomplish what you want you would need to =20
configure your looper (in this case, your laptop/Mobius system) as a =20
SEND EFFECT.

The profx8 has two Sends, namely the MON and FX sends.

Since you want to use your onboard reverb your FX send is already tied =20
up, so that leaves the MON send.

For your return (I assume you want a stereo return) use either your =20
9/10 or 11/12 strip.  This will allow you to send your laptop's output =20
to the FX buss.  Be sure that your MON send is turned down -- else you =20
will get feedback.  Also, make sure that the FX to MON pot is turned =20
down else you'll get feedback.

Remember, you don't have to use the ST RETURN to return send effects.  =20
Also, the ST return can be used as two additional mixer inputs =20
(although this input doesn't have any EQ, panning, or sends).

The MAIN OUT will go to your speakers.

Hope this helps :)

-- Kevin

Thus, you would hook


Quoting "L.Angulo" <labaloops@yahoo.com>:

> Hi loopers,
> i have different instruments plugged in to my compact pro fx8 mackie =20
>  mixer then i go stereo out of the mixer into my soundcard and from  =20
> there straight into the speakers.My soundcards fireiwre out straight =20
>  into my macbook and mobius.Everything is cool,except when i puse my =20
>  loops it sounds very abrupt and dry because there is no post  =20
> proccesing.I would like to therefore take avantage of  my mixers eqs =20
>  and reverb to warmup the sound coming out of the soundcard before =20
> it  goes into the speakers.
> What would be the most effective way to route this,is it possible to =20
>  bring back the outs of the soundcard back into the mixer without  =20
> creating feedback?
> my mixer does not have alt 3/4 outs,but here is the specs:
> http://www.mackie.com/products/profx8/
> thanx for your tips!
> Luis
>
>
>
> www.myspace.com/luisangulocom
>
>
>
>
>



From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 16:42:08 2008
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Message-ID: <20081203103515.c71b480zk0s4wow8@mail.kevinkissinger.com>
Date: Wed, 03 Dec 2008 10:35:15 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: effective mobius,mixer and soundcard routing
References: <822156.18648.qm@web38601.mail.mud.yahoo.com>
	<20081203102732.nynp7421kc8w0kc8@mail.kevinkissinger.com>
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Forgot to mention:

Make sure the button on the "Stereo Graphic EQ" strip is in the "UP" =20
(Main Mix) position.

Also, on the FX section, make sure the FX to MON pot is all the way to =20
the left.

The bottom line: make sure all of your MON send pots are all the way =20
to the left except for the strips that you want to send to your laptop =20
looper.

-- Kevin

Quoting kkissinger@kevinkissinger.com:

> Regardless of the mixer, to accomplish what you want you would need to
> configure your looper (in this case, your laptop/Mobius system) as a
> SEND EFFECT.
>
> The profx8 has two Sends, namely the MON and FX sends.
>
> Since you want to use your onboard reverb your FX send is already tied
> up, so that leaves the MON send.
>
> For your return (I assume you want a stereo return) use either your
> 9/10 or 11/12 strip.  This will allow you to send your laptop's output
> to the FX buss.  Be sure that your MON send is turned down -- else you
> will get feedback.  Also, make sure that the FX to MON pot is turned
> down else you'll get feedback.
>
> Remember, you don't have to use the ST RETURN to return send effects.
> Also, the ST return can be used as two additional mixer inputs
> (although this input doesn't have any EQ, panning, or sends).
>
> The MAIN OUT will go to your speakers.
>
> Hope this helps :)
>
> -- Kevin
>
> Thus, you would hook
>
>
> Quoting "L.Angulo" <labaloops@yahoo.com>:
>
>> Hi loopers,
>> i have different instruments plugged in to my compact pro fx8  =20
>> mackie  mixer then i go stereo out of the mixer into my soundcard  =20
>> and from  there straight into the speakers.My soundcards fireiwre  =20
>> out straight  into my macbook and mobius.Everything is cool,except  =20
>> when i puse my  loops it sounds very abrupt and dry because there  =20
>> is no post  proccesing.I would like to therefore take avantage of   =20
>> my mixers eqs  and reverb to warmup the sound coming out of the  =20
>> soundcard before it  goes into the speakers.
>> What would be the most effective way to route this,is it possible  =20
>> to  bring back the outs of the soundcard back into the mixer  =20
>> without  creating feedback?
>> my mixer does not have alt 3/4 outs,but here is the specs:
>> http://www.mackie.com/products/profx8/
>> thanx for your tips!
>> Luis
>>
>>
>>
>> www.myspace.com/luisangulocom
>>
>>
>>
>>
>>



From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 16:52:03 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
References: <f57288232486bc0d4a7b0facd076d8ba@charter.net>
Subject: RE: New recorded piece uploaded for sharing: "Yellow Music Box"
Date: Wed, 3 Dec 2008 08:51:56 -0800
Message-ID: <8276E7EF295B4B72A224D089A626B675@williamsteed>
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Doesn't sound like noise to me, Nice work Per. You reminded me to get off my
ass and  start creating my first music box piece. The first attempt I wasn't
wearing my glasses and I punched holes in some pretty weird places. What is
cool about this piece is the way you evolved it through creative processing
and editing. Id you mount the music box to a resonant chamber?
Bill

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 17:01:48 2008
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From: "William Walker" <billwalker@baymoon.com>
To: "'eterogeneo'" <info@eterogeneo.com>,
        <Loopers-Delight@loopers-delight.com>
References: <F534B7BA5DEC41F3950E1B92D8F89FA4@pcfabio>
Subject: RE: New realtime recording uploaded 
Date: Wed, 3 Dec 2008 09:01:35 -0800
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I love this Fabio, I can feel the melancholy. I feel you brother.

Bill

 

  _____  

From: eterogeneo [mailto:info@eterogeneo.com] 
Sent: Monday, December 01, 2008 6:15 AM
To: ambient@hyperreal.org; Loopers-Delight@loopers-delight.com
Subject: New realtime recording uploaded 

 

Hi all, 

just to share - here's a "fresh" new improvvisation i recorded in real time
last night.

http://www.eterogeneo.com/podcast/Weightless.mp3   also available on my
podcast
<http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=217423588>


 

I used Mobius running as a VST inside Bidule, 

5 VST effect plugins and my piano and no final editing (all mistakes are all
there....).

 

Greetings

 

Fabio

www.eterogeneo.com

www.myspace.com/eterogeneo

 

 

 


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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 love this Fabio, I can feel the
melancholy. I feel you brother.<o:p></o:p></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'>Bill<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

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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'> =
<st1:PersonName
w:st=3D"on">eterogeneo</st1:PersonName> [mailto:info@<st1:PersonName =
w:st=3D"on">eterogeneo</st1:PersonName>.com]
<br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Monday, December =
01, 2008
6:15 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> =
ambient@hyperreal.org;<st1:PersonName
w:st=3D"on"> Loopers-Delight@loopers-delight.com</st1:PersonName><br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> New realtime =
recording
uploaded </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 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'>Hi all, =
</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'>just to =
share -
here's a &quot;fresh&quot; new improvvisation i recorded in real time =
last
night.</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'><a
href=3D"http://www.eterogeneo.com/podcast/Weightless.mp3">http://www.eter=
ogeneo.com/podcast/Weightless.mp3</a>&nbsp;&nbsp;&nbsp;also
available on my <a
href=3D"http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=3D=
217423588">podcast</a></span></font><o:p></o:p></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 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'>I used =
Mobius
running as a VST inside Bidule, </span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'>5 VST =
effect
plugins and my piano and&nbsp;no&nbsp;final editing (all mistakes are =
all
there....).</span></font><o:p></o:p></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 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book =
Antiqua";color:navy'>Greetings</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
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</div>

<div>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book =
Antiqua";color:navy'>Fabio</span></font><o:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'><a
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</a></span></font><o=
:p></o:p></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Book =
Antiqua"><span
style=3D'font-size:12.0pt;font-family:"Book Antiqua";color:navy'><a
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</a>=
</span></font><o:p></o:p></p>

</div>

<div>

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<div>

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</div>

<div>

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From omra_musa1@hotmail.fr  Wed Dec  3 17:02:55 2008
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Subject: THE DESK OF  OMRA MUSA
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  THE DESK OF  OMRA MUSA
AUDITS & ACCOUNTS DEPT
AFRICAN DEVELOPMENT BANK
Ouagadougou Burkina Faso.
PHONE NUMBER 0022678159886
 
 
Attention: Please 
 
I am Mr omra musa the manager Audit & Accounts dept. in the African development bank (ADB). I am writing to request your assistance to transferthe sum of $25.500, 000.00 (twenty five million, five hundred thousand United States dollars) into your accounts. 
 
The above sum belongs to our deceased customer late Mr. Shadi Aribi Monther from Lebanon  who died along with his entire family in the Benin plane crash 2003 and since then the fund has been in a suspenseaccount.
 
After my further investigation, I discovered that Mr ShadiAribi Monther died with his next of kin and according to the laws and constitution guiding this banking institution stated that after the expiration of (6) six years, 
 
if no body or person comes for the claim as the next of kin, the fund will be channel into national treasury as unclaimed fund.  Because of the static of this transaction I want you to stand as the next of kin so that our bank will accord you therecognition and have the fund transfer to your account.
 
The total sum will be shared as follows: 60% for me, 40% for you and expensesincidental occur during the transfer will be incur by both of us. The transfer is risk free on both sides hence you are going to follow my instruction till the fund transfer to your account. 
 
More details information with the text of application form will be forwarded to you to breakdown explaining comprehensively what require of you.
 
Your Full Name.......................
Your Sex.................................
Your Age.................................
Your Country..............................
Passport /drivinglicense.......                                        
Your Occupation..........................
Your Personal Mobile Number..............
  Thanks
Mr OMRA MUSA
+22678159886.
 

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 17:09:23 2008
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Date: Wed, 3 Dec 2008 11:09:18 -0600
Subject: RE: effective mobius,mixer and soundcard routing
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> if i could route the soundcard with mobius through
> a software reverb efx plugin or something instead
> of returning it back to my hardware mixer

This would be the simplest solution but you need to use the VST
version of Mobius.  Using a host like Bidule, route the sound card
input into Mobius, route Mobius into the reverb plugin of your choice,
then route the reverb to the sound card output.  I'm finishing
up testing the Mac VST, it should be ready in about a week.

Jeff

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From: Kelly Industrys <k_indust@yahoo.com>
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Subject: Alternate Guitar Tunings
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Hi

Here's an interesting list Alternate Guitar Tunings from a number of bands and musicians ranging from joni mitchell to metallica.  There are short clips of the songs so you get to hear what the alternate tuning sounds like: http://www.gibson.com/robotguitar/story2.html

Here's a larger list of guitar tunings only:
http://www.howtotuneaguitar.org/tuning/alternate-guitar-tuning-chart/

I was reading about the new and somewhat expensive gibson dark fire guitar and found that it does alternate tunings as well as self tune. It also allows each string to have its own effects etc...  It's worth a look if you haven't seen it. 

http://www2.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/DarkFire/Technology.aspx



http://www.kellyindustries.com/


      

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Date: Wed, 3 Dec 2008 19:39:46 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: Re: effective mobius,mixer and soundcard routing
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Luis,

> But isnt there a soundcard outhere that has all its individual outs to a simple integrated software mixer with 3 band eq and simple reverb effects outhere?

one solution (if you for whatever reason decide not to use a software
reverb/compression/EQ solution) might be the TC Konnekt24D.

It has four inputs (two of them with micpres) and outputs each, plus a
pair of ADAT I/O for expandability, plus two (mono) channel strips of
fullrange or multiband compression and EQ (Finalizer IP) and one
Reverb send effect (M6000 IP). So this will only work with a maximum
of four (mono) input channels, of which only two get dynamics/EQ.

I'm somewhat surprised about your comment about the firebox - using
the ASIO drivers, I could always address the outputs individually from
my host application (although I've never tried that with Mobius, but
it sure works with Live).

             Rainer

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 18:53:29 2008
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I just bought a NanoKontrol and NanoKey.  As expected they work fine
with Mobius, but the lighted buttons on the NanoKontrol can't be
controlled by Mobius.  The button lights are used when the button is
configured in toggle mode, it lights up when "down" (sends note on or
CC > 0) and turns off when "up" (sends note off or CC 0).

I like the Kontrol a lot.  It has four "scenes" which are patches
of assignments for all the knobs and switches.  Typical Mobius use
would be:

  Scene 1
    sliders - track output levels
    knobs - track pan
    button 1 - focus lock
    button 2 - mute
  Scene 2
    sliders - feedback
    knobs - alt feedback
    button 1 - reset

Most of the things I would do with the transport buttons I would
want on a footswitch, but some possibilities are:

  Rewind - Prev Loop
  Forward - Next Loop
  Stop - Reset
  Play - Play
  Record - Overdub

The NanoKey is kind of cheesy, but hey it's $50.  The keys are similar
to those on a laptop with a very short range of movement.  They wiggle
a bit and look like they would pop off if you stuck a toothpick under
them.  They are velocity sensitive but not very expressive.  You can
pick three sensitivity curves.  It's fine for triggering loops or
setting pitch/speed shifts in Mobius, but you're not going to be
playing any Rachmaninov on it.

You can set the keys to transmit notes or control changes.  There are
"pitch up" and "pitch down" buttons that will simulate the action of a
pitch bend control.  Pitch change messages are sent over a programmable
range at a programmable rate as long as you hold down the button.  They
worked surprisingly well for little scoops and doits.

You can program the NanoKey to send on any MIDI channel, but there are no
patches so it can only send on that one channel until you reprogram
it.  This would be a limitation if you had several synth plugins that
receive on different channels, but again if you're playing synths this
is probably not for you.

Both the Key and Kontrol are programmed with KorgKontrol software you
have to download from the Korg web site.  It's easy to use.

The combination of the Key and Kontrol do just about everything I was
doing with a Novation Remote 25 in a MUCH smaller package.  I mostly love
them but really wish the NanoKey had "scenes" like the Kontrol so you could
switch channels on the fly.

Jeff

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 19:11:37 2008
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From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: k_indust@yahoo.com
Subject: (OT) Re: Alternate Guitar Tunings
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Howdy,

One tuning that I use ALL OF THE TIME . . . and seldom see on any charts (e=
xactly) for one reason or another is:

C,G,D,G,B,D

Or raise it a half step:

C#,G#,D#,G#,C,D#

I's just like open G (or open G# if raised a half step) but with a Sus 4 on=
 the bottom.

There are a lot of tunings on those charts that will have 5 out of the 6 st=
rings like mine but differ by just one string.

I love the ready dissonance that's always available between the bass string=
 and the 5th string.

That's what I've used for about a dozen years now (or some transposed varia=
nt thereof).

Just thought I'd pipe in with my 2 cents.

Cheers,

Ted


--
tEd =C2=AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e intends to eat until he eats them. =E2=80=93 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

---- Kelly Industrys <k_indust@yahoo.com> wrote:=20
> Hi
>=20
> Here's an interesting list Alternate Guitar Tunings from a number of band=
s and musicians ranging from joni mitchell to metallica.  There are short c=
lips of the songs so you get to hear what the alternate tuning sounds like:=
 http://www.gibson.com/robotguitar/story2.html
>=20
> Here's a larger list of guitar tunings only:
> http://www.howtotuneaguitar.org/tuning/alternate-guitar-tuning-chart/
>=20
> I was reading about the new and somewhat expensive gibson dark fire guita=
r and found that it does alternate tunings as well as self tune. It also al=
lows each string to have its own effects etc...  It's worth a look if you h=
aven't seen it.=20
>=20
> http://www2.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/Dark=
Fire/Technology.aspx
>=20
>=20
>=20
> http://www.kellyindustries.com/
>=20
>=20
>      =20
>

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From: ditch wrestler <ditchwrestler@yahoo.com>
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Subject: Re: (OT) Re: Alternate Guitar Tunings
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--0-49335591-1228333162=:8470
Content-Type: text/plain; charset=windows-1252
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My favourite tuning is to line-up=A0all the pegs in a straight line, parall=
el to the headstock.
=A0
Not sure why but it usually sounds better than having all the pegs go perpi=
ndicular...

;-)
=A0
=A0
ted.
Enemies are good for self-definition. Werner Herzog

--- On Wed, 12/3/08, tEd =AE kiLLiAn <tedkillian@charter.net> wrote:

From: tEd =AE kiLLiAn <tedkillian@charter.net>
Subject: (OT) Re: Alternate Guitar Tunings
To: k_indust@yahoo.com
Cc: Loopers-Delight@loopers-delight.com
Date: Wednesday, December 3, 2008, 11:11 AM

Howdy,

One tuning that I use ALL OF THE TIME . . . and seldom see on any charts
(exactly) for one reason or another is:

C,G,D,G,B,D

Or raise it a half step:

C#,G#,D#,G#,C,D#

I's just like open G (or open G# if raised a half step) but with a Sus 4 on
the bottom.

There are a lot of tunings on those charts that will have 5 out of the 6
strings like mine but differ by just one string.

I love the ready dissonance that's always available between the bass string
and the 5th string.

That's what I've used for about a dozen years now (or some transposed
variant thereof).

Just thought I'd pipe in with my 2 cents.

Cheers,

Ted


--
tEd =AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e
intends to eat until he eats them. =96 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

---- Kelly Industrys <k_indust@yahoo.com> wrote:=20
> Hi
>=20
> Here's an interesting list Alternate Guitar Tunings from a number of
bands and musicians ranging from joni mitchell to metallica.  There are sho=
rt
clips of the songs so you get to hear what the alternate tuning sounds like=
:
http://www.gibson.com/robotguitar/story2.html
>=20
> Here's a larger list of guitar tunings only:
> http://www.howtotuneaguitar.org/tuning/alternate-guitar-tuning-chart/
>=20
> I was reading about the new and somewhat expensive gibson dark fire guita=
r
and found that it does alternate tunings as well as self tune. It also allo=
ws
each string to have its own effects etc...  It's worth a look if you
haven't seen it.=20
>=20
>
http://www2.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/DarkFi=
re/Technology.aspx
>=20
>=20
>=20
> http://www.kellyindustries.com/
>=20
>=20
>      =20
>

=0A=0A=0A      
--0-49335591-1228333162=:8470
Content-Type: text/html; charset=windows-1252
Content-Transfer-Encoding: quoted-printable

<table cellspacing=3D"0" cellpadding=3D"0" border=3D"0" ><tr><td valign=3D"=
top" style=3D"font: inherit;"><DIV>My favourite tuning is to line-up&nbsp;a=
ll the pegs in a straight line, parallel to the headstock.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Not sure why but it usually sounds better than having all the pegs go =
perpindicular...<BR></DIV>
<DIV>;-)</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>ted.<BR>Enemies are good for self-definition. Werner Herzog<BR><BR>---=
 On <B>Wed, 12/3/08, tEd =AE kiLLiAn <I>&lt;tedkillian@charter.net&gt;</I><=
/B> wrote:<BR></DIV>
<BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(=
16,16,255) 2px solid">From: tEd =AE kiLLiAn &lt;tedkillian@charter.net&gt;<=
BR>Subject: (OT) Re: Alternate Guitar Tunings<BR>To: k_indust@yahoo.com<BR>=
Cc: Loopers-Delight@loopers-delight.com<BR>Date: Wednesday, December 3, 200=
8, 11:11 AM<BR><BR><PRE>Howdy,

One tuning that I use ALL OF THE TIME . . . and seldom see on any charts
(exactly) for one reason or another is:

C,G,D,G,B,D

Or raise it a half step:

C#,G#,D#,G#,C,D#

I's just like open G (or open G# if raised a half step) but with a Sus 4 on
the bottom.

There are a lot of tunings on those charts that will have 5 out of the 6
strings like mine but differ by just one string.

I love the ready dissonance that's always available between the bass string
and the 5th string.

That's what I've used for about a dozen years now (or some transposed
variant thereof).

Just thought I'd pipe in with my 2 cents.

Cheers,

Ted


--
tEd =AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e
intends to eat until he eats them. =96 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

---- Kelly Industrys &lt;k_indust@yahoo.com&gt; wrote:=20
&gt; Hi
&gt;=20
&gt; Here's an interesting list Alternate Guitar Tunings from a number of
bands and musicians ranging from joni mitchell to metallica.  There are sho=
rt
clips of the songs so you get to hear what the alternate tuning sounds like=
:
http://www.gibson.com/robotguitar/story2.html
&gt;=20
&gt; Here's a larger list of guitar tunings only:
&gt; http://www.howtotuneaguitar.org/tuning/alternate-guitar-tuning-chart/
&gt;=20
&gt; I was reading about the new and somewhat expensive gibson dark fire gu=
itar
and found that it does alternate tunings as well as self tune. It also allo=
ws
each string to have its own effects etc...  It's worth a look if you
haven't seen it.=20
&gt;=20
&gt;
http://www2.gibson.com/Products/Electric-Guitars/Les-Paul/Gibson-USA/DarkFi=
re/Technology.aspx
&gt;=20
&gt;=20
&gt;=20
&gt; http://www.kellyindustries.com/
&gt;=20
&gt;=20
&gt;      =20
&gt;

</PRE></BLOCKQUOTE></td></tr></table><br>=0A=0A      
--0-49335591-1228333162=:8470--

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From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 21:22:08 2008
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Excellent link with sound examples!

My favorite open tuning - I hardly ever see it - is Low C:
C G D G A D

So, it's like DADGAD but only with a C G D in the bottom.
In fact, Low C (C G D) in the bottom is my favorite starting point because it gives you both fifths (C5, G5) at the bottom.

Eric Turnbull uses another LowC Tuning (C G D D#A#D#) in this song: http://www.youtube.com/watch?v=nRahpP5WP68
Check it out, great solo guitar tune.

But _you_guys_ are the guitar players, anyway ;-)

best regards

Buzap



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From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 21:30:24 2008
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Date: Wed, 3 Dec 2008 22:30:23 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: song uploaded for sharing: "The Yogi and the Commissar"
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If anyone's is in the mood for listening I just posted a looping heavy
song here:

http://www.ubetoo.com/Artist.taf?_ArtistId=6550


>"The Yogi and the Commissar"
>
> About the song:
> I wanted to give my three sexiest instruments three minutes to make out on the web.
> They took three fifty three.
>
> Equipment:
> Alto Flute, Tenor Sax, Stratocaster Electric Guitar,
> Electric Wind Controller (EWI 9000s),
> Mobius looping software,
> Logic Pro recording software.

I had a problem finding a proper style tag and finally settled for "jazz".

Per

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 21:35:23 2008
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Hi Luis

> i am glad you jumped on this subject,i was just going to ask if i could
> route the soundcard with mobius through a software reverb efx plugin or
> something instead of returning it back to my hardware mixer to get that post
> reverb,how could this be done?
Well, I'm still stomping on my RC-50, mostly. So, I guess other people can give you more hints on the software side (let me guess: i.e. someone could suggest Bidule+free VST plugins on Windows or MainStage on Mac / while someone else  also would mention that you might as well build whatever you need with MAX/MSP... ;-)

Have you actually also considered the Motu Ultralite Mk3 as Firewire alternative? For 550,- EUR you get ca. 10 in/outs with built-in hardware Reverbs, EQ and Compression. You should give it a look!
http://www.motu.com/products/motuaudio/ultralite-mk3

best regards & good luck in the software world
Buzap



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From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 21:39:53 2008
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Date: Wed, 3 Dec 2008 22:39:51 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Alternate Guitar Tunings (OT)
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In the time ca. "SAUBER! - Das Geheimnis der Geschwindigkeit" (2001)
'til "Neinnein auf dem kleinen Weg" (2004), I used a (bass) guitar
(Tune Gap 6) tuned a-e-b-f#-d-a (the upper a being below a normal
guitar's b string). This basically is a guitar tuning with inverted
intervals (fifths instead of fours and minor 6th instead of major
3rd), and expands the range of the instrument by one octave.

I did a similair inverted lute tuning on my B2AF (bass paddle
fretless), tuning it d-a-f-c.

A word of caution, though: on instruments with a very acoustically
conductive body/neck (like it is the case with the Tune), the stronger
coupling with 5th compared to 4ths leads to stronger resonances
between the strings - a workaround is the use of per-string
processing.

As for bass guitar tunings with looping content, be sure to check out
http://www.manthing.com/tunings.htm

                  Rainer

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> 
> C,G,D,G,B,D
> 

Yeah, like that also. I like it as G minor, too: C G D G Bb D

Buzap



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crazy name...  ;-)
How did you perform the percussive sounds? Via midi keyboard & samples?
Buzap

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On Wed, Dec 3, 2008 at 10:44 PM, Buzap Buzap <buzap@gmx.net> wrote:
> crazy name...  ;-)
> How did you perform the percussive sounds? Via midi keyboard & samples?
> Buzap
>

Great that you asked, because I just remembered this recent discussion
here regarding "synthetic" versus "sampled" sound. This percussion is
a bunch of sampled sounds. I simply penned the rhythm patterns
directly on the screen, using the mouse. Reworked some old beats I
found as MIDI sequences and made them fit in with the played and
looped instruments.

Great drum samples, isn't it! The sampler is Logic's Ultrabeat. It
seems sounds come out exceptionally punchy and crisp from UltraBeat.
But here I couldn't mix the percussion louder because of the other
melodic instruments battling all over, so the drums and gongs doesn't
really come out to its fullest flavor.

Per

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-------------------------------1228344406
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Listening right now.  Beautiful.  Captures my current overworked,  tired mood 
completely.
 
Peace,
 
Harry  Weinberg, Esq.
Law Offices of Harry Weinberg
11 Beach Street - 8th  Floor
New York, N.Y. 10013
(212) 989-2908  

 
In a message dated 12/3/2008 12:02:26 P.M. Eastern Standard Time,  
billwalker@baymoon.com writes:

 
I love this Fabio, I  can feel the melancholy. I feel you brother. 
Bill 
 
  
____________________________________
 
From:  eterogeneo  [mailto:info@eterogeneo.com]  
Sent: Monday, December 01,  2008 6:15 AM
To:  ambient@hyperreal.org;  Loopers-Delight@loopers-delight.com
Subject: New realtime recording uploaded  
 
Hi all,  
 
just to  share - here's a "fresh" new improvvisation i recorded in real time 
last  night.
 
_http://www.eterogeneo.com/podcast/Weightless.mp3_ 
(http://www.eterogeneo.com/podcast/Weightless.mp3)    also  available on my _podcast_ 
(http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=217423588) 
 

 
I used  Mobius running as a VST inside Bidule, 
 
5 VST effect  plugins and my piano and no final editing (all mistakes are all 
 there....).
 

 
Greetings
 

 
Fabio
 
_www.eterogeneo.com_ (http://www.eterogeneo.com/) 
 
_www.myspace.com/eterogeneo_ (http://www.myspace.com/eterogeneo) 
 

 

 





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-------------------------------1228344406
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e_document=20
face=3DArial color=3D#000000 size=3D2>
<DIV>Listening right now.&nbsp; Beautiful.&nbsp; Captures my current overwor=
ked,=20
tired mood completely.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Peace,</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) 989-2908=20
<DIV>&nbsp;</DIV>
<DIV>
<DIV>In a message dated 12/3/2008 12:02:26 P.M. Eastern Standard Time,=20
billwalker@baymoon.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>
  <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">I love this Fab=
io, I=20
  can feel the melancholy. I feel you brother.<o:p></o:p></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">Bill<o:p></o:p>=
</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"><o:p>&nbsp;</o:=
p></SPAN></FONT></P>
  <DIV>
  <DIV class=3DMsoNormal style=3D"TEXT-ALIGN: center" align=3Dcenter><FONT=20
  face=3D"Times New Roman" size=3D3><SPAN style=3D"FONT-SIZE: 12pt">
  <HR tabIndex=3D-1 align=3Dcenter width=3D"100%" SIZE=3D2>
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  <P class=3DMsoNormal><B><FONT face=3DTahoma size=3D2><SPAN=20
  style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10pt; FONT-FAMILY: Tahoma">From:</S=
PAN></FONT></B><FONT=20
  face=3DTahoma size=3D2><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Tahoma=
">=20
  <st1:PersonName w:st=3D"on">eterogeneo</st1:PersonName>=20
  [mailto:info@<st1:PersonName w:st=3D"on">eterogeneo</st1:PersonName>.com]=20
  <BR><B><SPAN style=3D"FONT-WEIGHT: bold">Sent:</SPAN></B> Monday, December=
 01,=20
  2008 6:15 AM<BR><B><SPAN style=3D"FONT-WEIGHT: bold">To:</SPAN></B>=20
  ambient@hyperreal.org;<st1:PersonName w:st=3D"on">=20
  Loopers-Delight@loopers-delight.com</st1:PersonName><BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Subject:</SPAN></B> New realtime recording upl=
oaded=20
  </SPAN></FONT><o:p></o:p></P></DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'">Hi all=
,=20
  </SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'">just t=
o=20
  share - here's a "fresh" new improvvisation i recorded in real time last=20
  night.</SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'"><A=20
  title=3Dhttp://www.eterogeneo.com/podcast/Weightless.mp3=20
  href=3D"http://www.eterogeneo.com/podcast/Weightless.mp3">http://www.etero=
geneo.com/podcast/Weightless.mp3</A>&nbsp;&nbsp;&nbsp;also=20
  available on my <A=20
  title=3Dhttp://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=
=3D217423588=20
  href=3D"http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=
=3D217423588">podcast</A></SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">&nbsp;<o:p></o:p></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'">I used=
=20
  Mobius running as a VST inside Bidule, </SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'">5 VST=20=
effect=20
  plugins and my piano and&nbsp;no&nbsp;final editing (all mistakes are all=20
  there....).</SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">&nbsp;<o:p></o:p></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'">Greeti=
ngs</SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">&nbsp;<o:p></o:p></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'">Fabio<=
/SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'"><A=20
  title=3Dhttp://www.eterogeneo.com/=20
  href=3D"http://www.eterogeneo.com/">www.eterogeneo.com</A></SPAN></FONT><o=
:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Book Antiqua" color=3Dnavy size=3D3><SP=
AN=20
  style=3D"FONT-SIZE: 12pt; COLOR: navy; FONT-FAMILY: 'Book Antiqua'"><A=20
  title=3Dhttp://www.myspace.com/eterogeneo=20
  href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</A><=
/SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">&nbsp;<o:p></o:p></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">&nbsp;<o:p></o:p></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt"></SPAN></FONT>&nbsp;</P></DIV></DIV></FONT></BLO=
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olcom00000010">Try it now</a>.</FONT></DIV></BODY></HTML>

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From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Alternate Guitar Tunings (OT)
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C G D G A D is actually pretty popular these days.  It seems to pop up in
many interviews in the last few years.

TH

On Wed, Dec 3, 2008 at 1:22 PM, Buzap Buzap <buzap@gmx.net> wrote:

>
> Excellent link with sound examples!
>
> My favorite open tuning - I hardly ever see it - is Low C:
> C G D G A D
>
> So, it's like DADGAD but only with a C G D in the bottom.
> In fact, Low C (C G D) in the bottom is my favorite starting point because
> it gives you both fifths (C5, G5) at the bottom.
>
>

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C G D G A D is actually pretty popular these days.&nbsp; It seems to pop up in many interviews in the last few years.<br><br>TH<br><br><div class="gmail_quote">On Wed, Dec 3, 2008 at 1:22 PM, Buzap Buzap <span dir="ltr">&lt;<a href="mailto:buzap@gmx.net">buzap@gmx.net</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><br>
Excellent link with sound examples!<br>
<br>
My favorite open tuning - I hardly ever see it - is Low C:<br>
C G D G A D<br>
<br>
So, it&#39;s like DADGAD but only with a C G D in the bottom.<br>
In fact, Low C (C G D) in the bottom is my favorite starting point because it gives you both fifths (C5, G5) at the bottom.<br>
<br></blockquote></div><br>

------=_Part_100153_23105575.1228344781478--

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 23:10:52 2008
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Subject: RE: effective mobius,mixer and soundcard routing
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yes, this is the problem i am using a Mac and unable to use it as a VST.
looking forward to it Jeff!

www.myspace.com/luisangulocom


--- On Wed, 12/3/08, Jeff Larson <jeff.larson@sailpoint.com> wrote:

> From: Jeff Larson <jeff.larson@sailpoint.com>
> Subject: RE: effective mobius,mixer and soundcard routing
> To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
> Date: Wednesday, December 3, 2008, 9:09 AM
> > if i could route the soundcard with mobius through
> > a software reverb efx plugin or something instead
> > of returning it back to my hardware mixer
> 
> This would be the simplest solution but you need to use the
> VST
> version of Mobius.  Using a host like Bidule, route the
> sound card
> input into Mobius, route Mobius into the reverb plugin of
> your choice,
> then route the reverb to the sound card output.  I'm
> finishing
> up testing the Mac VST, it should be ready in about a week.
> 
> Jeff


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 23:26:31 2008
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Yes, the problem is not only the firebox but mobius which is only able to sum up all outputs into a single stereo port,in other words i cannot connect all instruments into the soundcard and record with them in any track i want.Which means if my mic is plugged into input 1 the it will only get recorded into tracks 1 and 2 of mobius but not the rest.The RME however can be configured to asign all outputs to one port so that way i could connect all instruments straight into the soundcard and record into any track in mobius(like a patchbay),but like i said i still need the eqs,reverb etc.if i wanted to go purely software.Which left me no other option but to go into my mackie mixer first and then take its stereo outputs into the soundcard and then out to the speakers.
Luis

> 
> I'm somewhat surprised about your comment about the
> firebox - using
> the ASIO drivers, I could always address the outputs
> individually from
> my host application (although I've never tried that
> with Mobius, but
> it sure works with Live).
> 
>              Rainer


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec  3 23:53:08 2008
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shit man looks like this is it!!!!
any comments on it,reviews?how good are the drivers?latency with mobius? ef=
x quality? easy use?could its software mixer be controlled by a midi contro=
ller like the behringer BCR2000?is there a manual to download?
wow man thanx for the tip!!!!

www.myspace.com/luisangulocom


--- On Wed, 12/3/08, Buzap Buzap <buzap@gmx.net> wrote:

> From: Buzap Buzap <buzap@gmx.net>
> Subject: Re: effective mobius,mixer and soundcard routing
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 3, 2008, 1:35 PM
> Hi Luis
>=20
> > i am glad you jumped on this subject,i was just going
> to ask if i could
> > route the soundcard with mobius through a software
> reverb efx plugin or
> > something instead of returning it back to my hardware
> mixer to get that post
> > reverb,how could this be done?
> Well, I'm still stomping on my RC-50, mostly. So, I
> guess other people can give you more hints on the software
> side (let me guess: i.e. someone could suggest Bidule+free
> VST plugins on Windows or MainStage on Mac / while someone
> else  also would mention that you might as well build
> whatever you need with MAX/MSP... ;-)
>=20
> Have you actually also considered the Motu Ultralite Mk3 as
> Firewire alternative? For 550,- EUR you get ca. 10 in/outs
> with built-in hardware Reverbs, EQ and Compression. You
> should give it a look!
> http://www.motu.com/products/motuaudio/ultralite-mk3
>=20
> best regards & good luck in the software world
> Buzap
>=20
>=20
>=20
> --=20
> Sensationsangebot verl=E4ngert: GMX FreeDSL -
> Telefonanschluss + DSL=20
> f=FCr nur 16,37 Euro/mtl.!*
> http://dsl.gmx.de/?ac=3DOM.AD.PD003K1308T4569a=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 00:02:22 2008
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Thanx kevin,yes this is the way ive always routed my EDps with a hardware mixer,aux send to edp and out to a channel.Actually this is the way i cnnected my soundcard right away as soon as i got it but i was getting weird oscilating and noise results and i figured out it was because i had to turn all the faders down the software mixer,in other words i was using 2 mixers at the same time.It sounds great now!
However i am still not completely satisfied because there is a soundcard to connect,a hardware mixer and a laptop to worry about,compared to my hardware setup i still dont see many advantages to this(setup time wise) except for the felxiblity of mobius and software/soundcard pristine sound quality.

www.myspace.com/luisangulocom


--- On Wed, 12/3/08, kkissinger@kevinkissinger.com <kkissinger@kevinkissinger.com> wrote:

> From: kkissinger@kevinkissinger.com <kkissinger@kevinkissinger.com>
> Subject: Re: effective mobius,mixer and soundcard routing
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 3, 2008, 8:35 AM
> Forgot to mention:
> 
> Make sure the button on the "Stereo Graphic EQ"
> strip is in the "UP" (Main Mix) position.
> 
> Also, on the FX section, make sure the FX to MON pot is all
> the way to the left.
> 
> The bottom line: make sure all of your MON send pots are
> all the way to the left except for the strips that you want
> to send to your laptop looper.
> 
> -- Kevin
> 
> Quoting kkissinger@kevinkissinger.com:
> 
> > Regardless of the mixer, to accomplish what you want
> you would need to
> > configure your looper (in this case, your
> laptop/Mobius system) as a
> > SEND EFFECT.
> > 
> > The profx8 has two Sends, namely the MON and FX sends.
> > 
> > Since you want to use your onboard reverb your FX send
> is already tied
> > up, so that leaves the MON send.
> > 
> > For your return (I assume you want a stereo return)
> use either your
> > 9/10 or 11/12 strip.  This will allow you to send your
> laptop's output
> > to the FX buss.  Be sure that your MON send is turned
> down -- else you
> > will get feedback.  Also, make sure that the FX to MON
> pot is turned
> > down else you'll get feedback.
> > 
> > Remember, you don't have to use the ST RETURN to
> return send effects.
> > Also, the ST return can be used as two additional
> mixer inputs
> > (although this input doesn't have any EQ, panning,
> or sends).
> > 
> > The MAIN OUT will go to your speakers.
> > 
> > Hope this helps :)
> > 
> > -- Kevin
> > 
> > Thus, you would hook
> > 
> > 
> > Quoting "L.Angulo"
> <labaloops@yahoo.com>:
> > 
> >> Hi loopers,
> >> i have different instruments plugged in to my
> compact pro fx8  mackie  mixer then i go stereo out of the
> mixer into my soundcard  and from  there straight into the
> speakers.My soundcards fireiwre  out straight  into my
> macbook and mobius.Everything is cool,except  when i puse my
>  loops it sounds very abrupt and dry because there  is no
> post  proccesing.I would like to therefore take avantage of 
>  my mixers eqs  and reverb to warmup the sound coming out of
> the  soundcard before it  goes into the speakers.
> >> What would be the most effective way to route
> this,is it possible  to  bring back the outs of the
> soundcard back into the mixer  without  creating feedback?
> >> my mixer does not have alt 3/4 outs,but here is
> the specs:
> >> http://www.mackie.com/products/profx8/
> >> thanx for your tips!
> >> Luis
> >> 
> >> 
> >> 
> >> www.myspace.com/luisangulocom
> >> 
> >> 
> >> 
> >> 
> >>


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 00:12:21 2008
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i use that one all the time,in fact used it in this tune:

http://www.vimeo.com/groups/livelooping/videos/2376974

a cool variation of it is tuning down the A to G for that x-tra drone effect

Luis





> On Wed, Dec 3, 2008 at 1:22 PM, Buzap Buzap
> <buzap@gmx.net> wrote:
> 
> >
> > Excellent link with sound examples!
> >
> > My favorite open tuning - I hardly ever see it - is
> Low C:
> > C G D G A D
> >
> > So, it's like DADGAD but only with a C G D in the
> bottom.
> > In fact, Low C (C G D) in the bottom is my favorite
> starting point because



      

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Date: Wed, 3 Dec 2008 16:40:45 -0800 (PST)
From: Tim Nelson <psychle62@yahoo.com>
Reply-To: psychle62@yahoo.com
Subject: Re: Alternate Guitar Tunings (OT)
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Hmmm, I use diggidygad (DGDGAD) so much of the time; CGDGAD's only one tweak away...

-t-

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson
http://www.youtube.com/speleman62


--- On Wed, 12/3/08, Travis Hartnett <travishartnett@gmail.com> wrote:
> C G D G A D is actually pretty popular these days.  It seems
> to pop up in many interviews in the last few years.



      

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Subject: Re: Gordius foot controller user experiences
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A precise estimation???? better break out the real time analyzer. I can tell
you that the Gordius is quieter Behringer but at a different frequency.  The
Behringer has a kind of hollow and a slightly lower frequency and there can
be a creakiness to the sound of the pedals spring over time as well as
slight transformer noise.  The Gordius has a slight  click if you press
normally, and virtually no click if you press very lightly, which as Andy
pointed out, most people don't do, as most of us probably hit our foot
pedals harder than we need to, particularly when creating rhythmic loops.
The Gordius is quieter than the footswitches on a line 6  DL-4 and the M-13,
and quieter than Roland switches  such as their FS-5U momentary switches and
their loop pedals. Part of the issue is how the midi foot controller itself
can contribute to the noise. A typical MFC is a metal box, essentially a
resonant chamber that will amplify any mechanical noise.  Springs, which all
of the midi foot controllers I'm aware of have, also contribute to the
mechanical noise. Then there are relays which also have a bit of mechanical
noise that a metal chassis will amplify a bit.  Perhaps some strategic
placement of foam inside of a MFC might dampen some of the mechanical noise.
I've never tried that
 I assume you are trying to start you loops with open mics present, Rainer?
In a live situation the noise is negligible. In the studio,  with sensitive
mics present, you might get a little bit of mechanical noise  but I don't
think it would be significant.  I did have a bit of trouble with the Gordius
at first as,  Luis was so kind to point out :-). I also had trouble with the
manual for the FCB1010 when I first got it. Unlike the Behringer however,
Xavier at Gordius really helped me get going and understand the
architecture.  I go to the Behringer customer service web site  if I want to
have an exercise in futility or listen to Muzak for several minutes.  I like
the fact that with the little Giant, each bank can have 12 presets if I
assign the two aux switch jacks on the back to control extra looper
functions. I use two FS-5U switches and two EV-5 expression pedals which I
have globally set to volume and feedback. I'm really happy with the Gordius.
The footswitch buttons are a little close together but I have gotten used to
that after having to reach further on an FCB1010. Actually its made looping
while playing lap steel easier because I don't have to reach out so far with
my feet. Pound for pound, the best MFC on the planet IMHO.
 Bill

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<TITLE>Re: Gordius foot controller user experiences</TITLE>
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<P DIR=3DLTR><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT =
SIZE=3D2 FACE=3D"Arial">A precise estimation</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">????</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> better break out the real =
time</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> =
<FONT SIZE=3D2 FACE=3D"Arial">analyzer</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">&#8230;</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> I can tell you that =
the</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">G</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">ordius =
is</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">quieter</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"></FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">B</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">ehringer but at a different frequency</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 =
FACE=3D"Arial"> The</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">B</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">ehringer</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> has a</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> kind of hollo</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">w and</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> a</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> slightly lower frequency and there can be =
a</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">creakiness</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> to the sound of the pedals spring over =
time</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT =
SIZE=3D2 FACE=3D"Arial"> as well as slight transformer =
noise</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">.</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"></FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> =
The</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">G</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">ordius</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"></FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">has a</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">slight</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> click if you press =
normally, and virtually no click if you press very</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">lightly</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">, which as Andy pointed =
out</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT =
SIZE=3D2 FACE=3D"Arial">, most people don</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">&#8217;</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">t do, as most of us =
probably hit our foot pedals harder than we need to</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">, particularly when creating</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">rhythmic</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> loops. =
The</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">G</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">ordius is quieter than the =
footswitches on a line 6</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> DL-4 and the =
M-13,</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">and</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">quieter =
than</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> =
<FONT SIZE=3D2 FACE=3D"Arial">Roland</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> switches</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">such as their FS-5U momentary switches and their loop =
pedals. Part of the issue</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> is how =
the</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">midi foot controller</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">itself can contribute to the noise</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">. A</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> typical</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">MFC</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> is a metal =
box,</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> =
<FONT SIZE=3D2 FACE=3D"Arial">essentially</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"></FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">a resonant chamber that =
will amplify any mechanical noise</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">S</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">prings</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">,</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> which all of the midi foot =
controllers I</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">&#8217;</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">m aware of have, also contribute to the mechanical noise. =
Then there are relays which also have a bit of mechanical noise that a =
metal</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> =
<FONT SIZE=3D2 FACE=3D"Arial">chassis will amplify a =
bit.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> Perhaps some =
strategic placement of foam inside of a MFC might dampen some of the =
mechanical noise.&nbsp; I</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">&#8217;</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">ve never tried that</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"></SPAN></P>

<P DIR=3DLTR><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT =
SIZE=3D2 FACE=3D"Arial">&nbsp;I assume you are trying to start you loops =
with</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT =
SIZE=3D2 FACE=3D"Arial"> open mics present</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">,</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">Rainer</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">?&nbsp; In a live situation</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> the noise is</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">negligible</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">. In the =
studio</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">,</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">&nbsp; with sensitive mics present</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">,</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> you might get a little bit =
of mechanical noise</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 =
FACE=3D"Arial"> but I don</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">&#8217;</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">t think it would be</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">significant</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 =
FACE=3D"Arial"> I did have a bit of trouble with the Gordius at first =
as</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT =
SIZE=3D2 FACE=3D"Arial">,</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> Luis was so kind to =
point out</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT FACE=3D"Wingdings" =
SIZE=3D2>J</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">. I also had trouble with =
the manual for the FCB1010 when I first got it. Unlike =
the</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">B</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">ehringer however, Xavier =
at</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">G</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">ordius really helped me get =
going and understand the</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">architecture</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 =
FACE=3D"Arial"></FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"> <FONT SIZE=3D2 FACE=3D"Arial">I go to</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> the Behringer</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> customer service</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"> web site</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> =
if</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT =
SIZE=3D2 FACE=3D"Arial">I</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> want to have an exercise =
in futility or listen to Muzak for several minutes.</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial"></FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us">&nbsp;<FONT SIZE=3D2 FACE=3D"Arial"> I like the fact that =
with the little Giant, each bank can have 12 presets if I assign the two =
aux switch jacks on the back to control extra looper functions. I use =
two FS-5U switches and two</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">EV-5 expression pedals which</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">I</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"></FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">have globally set to volume and =
feedback</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">. I</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">&#8217;</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">m really happy with the =
Gordius. The footswitch buttons are a little</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"> <FONT SIZE=3D2 =
FACE=3D"Arial">close</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> together but I have gotten =
used to that after having to reach further on an =
FCB1010.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> Actually its made looping =
while playing lap steel easier because I don</FONT></SPAN><SPAN =
LANG=3D"en-us"></SPAN><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">&#8217;</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">t have to reach out so far =
with my feet.</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial"> Pound for pound, the best =
MFC on the planet IMHO</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"><FONT SIZE=3D2 FACE=3D"Arial">.</FONT></SPAN></P>

<P DIR=3DLTR><SPAN LANG=3D"en-us"><FONT SIZE=3D2 =
FACE=3D"Arial">&nbsp;Bill</FONT></SPAN><SPAN LANG=3D"en-us"></SPAN><SPAN =
LANG=3D"en-us"></SPAN></P>

</BODY>
</HTML>
------=_NextPart_000_000B_01C9557C.AE830EA0--

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 03:51:44 2008
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Date: Wed, 3 Dec 2008 23:51:47 -0400 (AST)
Subject: Re: song uploaded for sharing: "The Yogi and the Commissar"
From: =?iso-8859-1?Q?Andr=E9_Donawa?= <andre@andredonawa.com>
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Great stuff Per,
I would love to see how you do that live.
Any chance of including Barbados on your next tour?

On Wed, December 3, 2008 5:30 pm, Per Boysen wrote:
> If anyone's is in the mood for listening I just posted a looping heavy
> song here:
>
> http://www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>>"The Yogi and the Commissar"
>>
>> About the song:
>> I wanted to give my three sexiest instruments three minutes to make out
>> on the web.
>> They took three fifty three.
>>
>> Equipment:
>> Alto Flute, Tenor Sax, Stratocaster Electric Guitar,
>> Electric Wind Controller (EWI 9000s),
>> Mobius looping software,
>> Logic Pro recording software.
>
> I had a problem finding a proper style tag and finally settled for "jazz".
>
> Per
>
>


Andre Donawa


http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 04:59:42 2008
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Date: Wed, 03 Dec 2008 20:59:40 -0800
From: Rick Walker <looppool@cruzio.com>
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My favorite altered tuning and a list of resources for many more down below:

I'm just in love with D A D E on a four string fretted or fretless bass.

This sus2 tuning gives beautiful Lydian bar chords and lends itself to 
really simple
sus chord diadic and triadic chord shapes.

I'm just over using the hell out of it in the last year.

I even tuned my twelve string steel acoustic to this tuning

D   A   D   E   D   D  

This gives a full   8 strings of D so the open tuning stuff just sounds 
like a shimmering
god.   It's just beautiful......................

I'm not a guitarist , but  I play one on stage occasionally, by the 
way........not in my brother, or Ted's league by any stretch
of the imagination,   but I love the though of using the guitar as 
almost an open tuned Zither.

I love that David Crosby once had a D D D D D D  open tuned guitar on a 
tune.

I even have two tribes at www.tribe.net called    Weird Guitar  (for 
people using guitars in unusual, exotic and creative
'out of the box' ways)   and Weird Zither  (for people doing the same 
thing..............I have a Guitar as Zither thread
on the Weird Zithers tribe you might want to check out.

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

I was fortunate to record a few records and to tour with the wonderful 
Alternate Tuning guru,  Britain's Martin Simpson
for a while and he hipped me to a lot of cool things.    He has a theory 
that there are five basic simple chord shapes and that, once learned,
can be morphed around on any number of altered tunings for a guitar to 
produce really beautiful results.

I can highly recommend his book on Alternate Tunings
and this book/DVD package called
*MARTIN SIMPSON TEACHES ALTERNATE TUNINGS*
http://www.guitargallerymusic.com/shopping.php?do=display_product&item_number=AL20415

Additionally,  I've enjoyed these books excellent books by Mark Hanson
*THE ALTERNATE TUNINGS GUIDE FOR GUITARS  *(one of those cool ,  fit in 
the guitar case slender books)
and his larger
*THE COMPLETE BOOK OF ALTERNATE TUNINGS * by Mark Hanson
and a very cool picture chord book:
*ALTERNATE TUNINGS   PICTURE CHORDS*

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Subject: Re: Alternate Guitar Tunings (OT)
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I always liked Adrian Belews old tuning E A D A B E. He used it alot on 
Twang Bar King and the 80s Crimson release Three of a Perfect Pair .

Jeff

----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 03, 2008 11:59 PM
Subject: Re: Alternate Guitar Tunings (OT)


> My favorite altered tuning and a list of resources for many more down 
> below:
>
> I'm just in love with D A D E on a four string fretted or fretless bass.
>
> This sus2 tuning gives beautiful Lydian bar chords and lends itself to
> really simple
> sus chord diadic and triadic chord shapes.
>
> I'm just over using the hell out of it in the last year.
>
> I even tuned my twelve string steel acoustic to this tuning
>
> D   A   D   E   D   D
>
> This gives a full   8 strings of D so the open tuning stuff just sounds
> like a shimmering
> god.   It's just beautiful......................
>
> I'm not a guitarist , but  I play one on stage occasionally, by the
> way........not in my brother, or Ted's league by any stretch
> of the imagination,   but I love the though of using the guitar as
> almost an open tuned Zither.
>
> I love that David Crosby once had a D D D D D D  open tuned guitar on a
> tune.
>
> I even have two tribes at www.tribe.net called    Weird Guitar  (for
> people using guitars in unusual, exotic and creative
> 'out of the box' ways)   and Weird Zither  (for people doing the same
> thing..............I have a Guitar as Zither thread
> on the Weird Zithers tribe you might want to check out.
>
> ***********
> ***********
>
> I was fortunate to record a few records and to tour with the wonderful
> Alternate Tuning guru,  Britain's Martin Simpson
> for a while and he hipped me to a lot of cool things.    He has a theory
> that there are five basic simple chord shapes and that, once learned,
> can be morphed around on any number of altered tunings for a guitar to
> produce really beautiful results.
>
> I can highly recommend his book on Alternate Tunings
> and this book/DVD package called
> *MARTIN SIMPSON TEACHES ALTERNATE TUNINGS*
> http://www.guitargallerymusic.com/shopping.php?do=display_product&item_number=AL20415
>
> Additionally,  I've enjoyed these books excellent books by Mark Hanson
> *THE ALTERNATE TUNINGS GUIDE FOR GUITARS  *(one of those cool ,  fit in
> the guitar case slender books)
> and his larger
> *THE COMPLETE BOOK OF ALTERNATE TUNINGS * by Mark Hanson
> and a very cool picture chord book:
> *ALTERNATE TUNINGS   PICTURE CHORDS*
>


--------------------------------------------------------------------------------



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9:34 AM

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 06:00:27 2008
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Subject: Re: Alternate Guitar Tunings (OT)
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Anyone ever tried this for looping?

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 06:01:21 2008
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Subject: High tech tapping
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Anyone ever tried this for looping?
http://zenstorming.posterous.com/portable-idea-creator-and-reco

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 06:54:48 2008
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Subject: Alternate Guitar Tunings (OT)
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My primary source of experiment is... Joni Mitchell.

My regular tuning is std tuning down to C because I have a baritone.

But since I worked with a VG8 and now with a VG99, the machine has been 
a place to experiment tuning wise.
I have a soft spot for the california kitchen tuning and for the Hejira 
tuning...

Olivier Malhomme
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<fontfamily><param>Lucida Grande</param>My primary source of
experiment is... Joni Mitchell.


My regular tuning is std tuning down to C because I have a baritone.


But since I worked with a VG8 and now with a VG99, the machine has
been a place to experiment tuning wise.

I have a soft spot for the california kitchen tuning and for the
Hejira tuning...


Olivier Malhomme</fontfamily>
--Apple-Mail-1-958383496--


From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 07:45:49 2008
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Date: Thu, 4 Dec 2008 08:45:48 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: effective mobius,mixer and soundcard routing
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>> >> Hi loopers,
>> >> i have different instruments plugged in to my
>> compact pro fx8  mackie  mixer then i go stereo out of the
>> mixer into my soundcard  and from  there straight into the
>> speakers.My soundcards fireiwre  out straight  into my
>> macbook and mobius.Everything is cool,except  when i pause my
>>  loops it sounds very abrupt and dry because there  is no
>> post  proccesing.I would like to therefore take avantage of
>>  my mixers eqs  and reverb to warmup the sound coming out of
>> the  soundcard before it  goes into the speakers.
>> >> What would be the most effective way to route
>> this,is it possible  to  bring back the outs of the
>> soundcard back into the mixer  without  creating feedback?

Use another two channels on the mixer to take the soundcard output as
their inputs and insert some reverb. Just make sure those two channels
are routed to the speaker and not back into the soundcard's input,
because that would create some horrible feedback.

I use the same kind of rig, ie no post loop processing. However I play
my instruments through reverb, pre looper, and I would never do like
you are saying: simply pausing my loops. The way I do it is to play
something on my instrument as I pause my loops - in order to have the
reverb treated live sound mask the dry loop ending (loops are not
"dry" though, since lots of reverb are recorded as part of the loops,
but that even makes it sound more odd when you simply mute them
without covering up on the live instrument)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

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I couldnt see that it was an actual product... isnt this a product designers
ideas portfolio? Looks nice thought, bet you could make one with a few
sensors / pietzos and whatnots... might have a go tonight... I think I have
a lonely single glove somewhere... :-)

On Thu, Dec 4, 2008 at 7:01 AM, <mike@michaelplishka.com> wrote:

> Anyone ever tried this for looping?
> http://zenstorming.posterous.com/portable-idea-creator-and-reco
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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I couldnt see that it was an actual product... isnt this a product designers ideas portfolio? Looks nice thought, bet you could make one with a few sensors / pietzos and whatnots... might have a go tonight... I think I have a lonely single glove somewhere... :-) <br>
&nbsp;<br><div class="gmail_quote">On Thu, Dec 4, 2008 at 7:01 AM,  <span dir="ltr">&lt;<a href="mailto:mike@michaelplishka.com">mike@michaelplishka.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Anyone ever tried this for looping?<br>
<a href="http://zenstorming.posterous.com/portable-idea-creator-and-reco" target="_blank">http://zenstorming.posterous.com/portable-idea-creator-and-reco</a><br>
<br>
</blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

------=_Part_26574_21121006.1228377525629--

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 08:16:34 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: song uploaded for sharing: "The Yogi and the Commissar"
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On Thu, Dec 4, 2008 at 4:51 AM, Andr=E9 Donawa <andre@andredonawa.com> wrot=
e:
> Great stuff Per,
> I would love to see how you do that live.

Looping that music live would exclude the non-vocal percussion though,
unless I play together with a drummer. And you wouldn't hear all three
melody instruments right from the beginning, since I would have to
play them one after the other into a four minute loop. When making
that recording I performed the flute/voc looping first and had it
saved to overdub the sax and guitar take. You can't expect listeners
to sit around waiting for eight minutes before the third instruments
comes around ;-))

> Any chance of including Barbados on your next tour?

He, he... next gig happens april 8 on the Swedish west coast. Not sure
I will be able to extend that "tour" to Barbados, even though I'd love
doing that ;-))

Per

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 08:27:53 2008
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sometimes i like to increase the reverb very high while an agressive loop is going,pause the loop abruptly and while the reverb is trailing off fade in something else,yes sometimes i like that mechanical angular feel when you have every other instrument treated with reverb and you pause it abruptly and the retrigger it nice effect!
i dint use many efx for the acoustic other than a couple of stomps,delay octave and boost,i an content with the mackies complementary eq and reverb.
Luis


> I use the same kind of rig, ie no post loop processing.
> However I play
> my instruments through reverb, pre looper, and I would
> never do like
> you are saying: simply pausing my loops. The way I do it is
> to play
> something on my instrument as I pause my loops - in order
> to have the
> reverb treated live sound mask the dry loop ending (loops
> are not
> "dry" though, since lots of reverb are recorded
> as part of the loops,
> but that even makes it sound more odd when you simply mute
> them
> without covering up on the live instrument)
> 
> -- 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.myspace.com/perboysen
> www.stockholm-athens.com


      

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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: Alternate Guitar Tunings (OT)
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yeah! he said he is content with that one and his low budget one
EADABE

www.myspace.com/luisangulocom


--- On Wed, 12/3/08, Jeff Duke <jeff_d@embarqmail.com> wrote:

> From: Jeff Duke <jeff_d@embarqmail.com>
> Subject: Re: Alternate Guitar Tunings (OT)
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 3, 2008, 9:31 PM
> I always liked Adrian Belews old tuning E A D A B E. He used
> it alot on 
> Twang Bar King and the 80s Crimson release Three of a
> Perfect Pair .
> 
> Jeff
> 
> ----- Original Message ----- 
> From: "Rick Walker" <looppool@cruzio.com>
> To: "LOOPERS DELIGHT (posting)"
> <Loopers-Delight@loopers-delight.com>
> Sent: Wednesday, December 03, 2008 11:59 PM
> Subject: Re: Alternate Guitar Tunings (OT)
> 
> 
> > My favorite altered tuning and a list of resources for
> many more down 
> > below:
> >
> > I'm just in love with D A D E on a four string
> fretted or fretless bass.
> >
> > This sus2 tuning gives beautiful Lydian bar chords and
> lends itself to
> > really simple
> > sus chord diadic and triadic chord shapes.
> >
> > I'm just over using the hell out of it in the last
> year.
> >
> > I even tuned my twelve string steel acoustic to this
> tuning
> >
> > D   A   D   E   D   D
> >
> > This gives a full   8 strings of D so the open tuning
> stuff just sounds
> > like a shimmering
> > god.   It's just beautiful......................
> >
> > I'm not a guitarist , but  I play one on stage
> occasionally, by the
> > way........not in my brother, or Ted's league by
> any stretch
> > of the imagination,   but I love the though of using
> the guitar as
> > almost an open tuned Zither.
> >
> > I love that David Crosby once had a D D D D D D  open
> tuned guitar on a
> > tune.
> >
> > I even have two tribes at www.tribe.net called   
> Weird Guitar  (for
> > people using guitars in unusual, exotic and creative
> > 'out of the box' ways)   and Weird Zither 
> (for people doing the same
> > thing..............I have a Guitar as Zither thread
> > on the Weird Zithers tribe you might want to check
> out.
> >
> > ***********
> > ***********
> >
> > I was fortunate to record a few records and to tour
> with the wonderful
> > Alternate Tuning guru,  Britain's Martin Simpson
> > for a while and he hipped me to a lot of cool things. 
>   He has a theory
> > that there are five basic simple chord shapes and
> that, once learned,
> > can be morphed around on any number of altered tunings
> for a guitar to
> > produce really beautiful results.
> >
> > I can highly recommend his book on Alternate Tunings
> > and this book/DVD package called
> > *MARTIN SIMPSON TEACHES ALTERNATE TUNINGS*
> >
> http://www.guitargallerymusic.com/shopping.php?do=display_product&item_number=AL20415
> >
> > Additionally,  I've enjoyed these books excellent
> books by Mark Hanson
> > *THE ALTERNATE TUNINGS GUIDE FOR GUITARS  *(one of
> those cool ,  fit in
> > the guitar case slender books)
> > and his larger
> > *THE COMPLETE BOOK OF ALTERNATE TUNINGS * by Mark
> Hanson
> > and a very cool picture chord book:
> > *ALTERNATE TUNINGS   PICTURE CHORDS*
> >
> 
> 
> --------------------------------------------------------------------------------
> 
> 
> 
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.9.13/1826 - Release
> Date: 12/3/2008 
> 9:34 AM


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 08:49:09 2008
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Date: Thu, 4 Dec 2008 09:49:08 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: effective mobius,mixer and soundcard routing
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On Thu, Dec 4, 2008 at 9:27 AM, L.Angulo <labaloops@yahoo.com> wrote:
> sometimes i like to increase the reverb very high while an agressive loop is
> going,pause the loop abruptly and while the reverb is trailing off fade in something else,

Yes, that's a nice trick! I tend to like dub style tape delay loops as
well. Not using it for loops now, since I'm limited to Mobius
standalone version, but I have set up some such effect chains in
MainStage. But I can't get loops into that effect machinery, just the
live sound.

If ever there will be an AU version of Mobius I'd like to build a rig
in Bidule that has these kind of trippy effect chains as an option for
every loop track output (as well as for my instrument input). I will
not use reverb at all in that setup, rather "tape delay faking reverb"
(which I'm starting to like better in some ways)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

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Date: Thu, 4 Dec 2008 09:57:38 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Alternate Guitar Tunings (OT)
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Once I was talking to a guy that used G-G-G-G-G-G. A bit spectacular
maybe. Another good tuning for zing-zing-a-zing backing acoustic is to
change the three lower strings to thinner strings that are tuned the
same but one octave higher. Then you simply play the chords as usual
and get kind of minimal chords, never wider than a triad, but with a
very rich and layered tone. For recording, in a pop band context, this
is an awesome trick. The problem with recording acoustic guitar is
always that it has too much bass, so why not simply take out those too
bassy strings and add three more of the strings that sound good in a
mix together with drums, bass and vocals! Lush!

per

From test@omegadirective.de  Thu Dec  4 11:04:07 2008
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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 11:16:55 2008
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Btw: the idea about the Motu ultralite-mk3 is good one, that seems a flex=
ible and good audio card. I can get a Sound On Sound review if you want, =
just let me know.

Always fun to talk about designing flexible looping rigs! I would expect =
that what Luis wants should be possible but it=92s seems not so easy. I=92=
ve been investigating a 100% software rig too but correct me if I=92m wro=
ng, the problem has been and seems to be a flexible integration of the mi=
xer, looper (pre/post FX) and the routing to the audio card. Plus I would=
 like to see it working with a low CPU soft synth in a Mainstage like arc=
hitecture. It would be fantastic to have something like this all in a sma=
ll laptop. Imo, a disadvantage of this type of configurations is that you=
 first have to invest a big amount of money before you can start trying i=
t out without being sure it=92s going to work. But things are constantly =
improving so I=92m watching these threads closely.

An alternative combo I=92m personally thinking of is the LP1, Line 6 M13 =
+ a MFC. Yes, it=92s hardware but the combined specs look very promising.=
 The M13 has stereo FX send/returns and you can put your own external dev=
ice (eg EDP or LP1) anywhere in the FX chain of the M13. So something lik=
e 

pre-fx 1,2,3 =3D> looper =3D> post-fx or
pre-fx 1,2,3,4 =3D> looper 

is all be possible. By using the M13 scenes (setups) you can change the s=
tomp box + FX send/return setup on the fly.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 12:37:10 2008
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Subject: Re: Alternate Guitar Tunings (OT)
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right Louis, That was in response to Robert Fripps NST
http://en.wikipedia.org/wiki/New_Standard_Tuning

When KC reformed after Fripp had changed. he was described as grimacing from 
learning all the old stuff in NST.
It's amazing that after changing tunings RF still sounded exactly like 
RF....
His students The California Guitar Trio also use the New Standard tuning 
with great results

J

http://www.myspace.com/loopsinphasespace


----- Original Message ----- 
From: "L.Angulo" <labaloops@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 04, 2008 3:33 AM
Subject: Re: Alternate Guitar Tunings (OT)


> yeah! he said he is content with that one and his low budget one
> EADABE
>
> www.myspace.com/luisangulocom
>
>
> --- On Wed, 12/3/08, Jeff Duke <jeff_d@embarqmail.com> wrote:
>
>> From: Jeff Duke <jeff_d@embarqmail.com>
>> Subject: Re: Alternate Guitar Tunings (OT)
>> To: Loopers-Delight@loopers-delight.com
>> Date: Wednesday, December 3, 2008, 9:31 PM
>> I always liked Adrian Belews old tuning E A D A B E. He used
>> it alot on
>> Twang Bar King and the 80s Crimson release Three of a
>> Perfect Pair .
>>
>> Jeff
>>
>> ----- Original Message ----- 
>> From: "Rick Walker" <looppool@cruzio.com>
>> To: "LOOPERS DELIGHT (posting)"
>> <Loopers-Delight@loopers-delight.com>
>> Sent: Wednesday, December 03, 2008 11:59 PM
>> Subject: Re: Alternate Guitar Tunings (OT)
>>
>>
>> > My favorite altered tuning and a list of resources for
>> many more down
>> > below:
>> >
>> > I'm just in love with D A D E on a four string
>> fretted or fretless bass.
>> >
>> > This sus2 tuning gives beautiful Lydian bar chords and
>> lends itself to
>> > really simple
>> > sus chord diadic and triadic chord shapes.
>> >
>> > I'm just over using the hell out of it in the last
>> year.
>> >
>> > I even tuned my twelve string steel acoustic to this
>> tuning
>> >
>> > D   A   D   E   D   D
>> >
>> > This gives a full   8 strings of D so the open tuning
>> stuff just sounds
>> > like a shimmering
>> > god.   It's just beautiful......................
>> >
>> > I'm not a guitarist , but  I play one on stage
>> occasionally, by the
>> > way........not in my brother, or Ted's league by
>> any stretch
>> > of the imagination,   but I love the though of using
>> the guitar as
>> > almost an open tuned Zither.
>> >
>> > I love that David Crosby once had a D D D D D D  open
>> tuned guitar on a
>> > tune.
>> >
>> > I even have two tribes at www.tribe.net called
>> Weird Guitar  (for
>> > people using guitars in unusual, exotic and creative
>> > 'out of the box' ways)   and Weird Zither
>> (for people doing the same
>> > thing..............I have a Guitar as Zither thread
>> > on the Weird Zithers tribe you might want to check
>> out.
>> >
>> > ***********
>> > ***********
>> >
>> > I was fortunate to record a few records and to tour
>> with the wonderful
>> > Alternate Tuning guru,  Britain's Martin Simpson
>> > for a while and he hipped me to a lot of cool things.
>>   He has a theory
>> > that there are five basic simple chord shapes and
>> that, once learned,
>> > can be morphed around on any number of altered tunings
>> for a guitar to
>> > produce really beautiful results.
>> >
>> > I can highly recommend his book on Alternate Tunings
>> > and this book/DVD package called
>> > *MARTIN SIMPSON TEACHES ALTERNATE TUNINGS*
>> >
>> http://www.guitargallerymusic.com/shopping.php?do=display_product&item_number=AL20415
>> >
>> > Additionally,  I've enjoyed these books excellent
>> books by Mark Hanson
>> > *THE ALTERNATE TUNINGS GUIDE FOR GUITARS  *(one of
>> those cool ,  fit in
>> > the guitar case slender books)
>> > and his larger
>> > *THE COMPLETE BOOK OF ALTERNATE TUNINGS * by Mark
>> Hanson
>> > and a very cool picture chord book:
>> > *ALTERNATE TUNINGS   PICTURE CHORDS*
>> >
>>
>>
>> --------------------------------------------------------------------------------
>>
>>
>>
>> No virus found in this incoming message.
>> Checked by AVG - http://www.avg.com
>> Version: 8.0.176 / Virus Database: 270.9.13/1826 - Release
>> Date: 12/3/2008
>> 9:34 AM
>
>
>
>


--------------------------------------------------------------------------------



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Checked by AVG - http://www.avg.com
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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 13:02:49 2008
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Subject: OT : viol guitar
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hi,

i will be in USA in march, in california and NY.

i plan to buy a togaman violguitar ( electric model ) handmade in LA. i =
plan to use this new instrument on future ECM recordings and such. has =
anyone played this instrument? what are your thoughts about it? here is =
the link for it.

http://www.togamanguitars.com/guitarviols/index.php

also would you recommend any other violguitar models, brands that i =
should check out before i make my final decision about which one to buy? =
i can pay as much as 4000$.

thanks a lot as always. best regards.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA_CDS/NA131/NA131.htm
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8
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<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>i will be in USA in march, in california and NY.</DIV>
<DIV>&nbsp;</DIV>
<DIV>i plan to buy a togaman violguitar ( electric model )&nbsp;handmade =
in LA.=20
i plan to use this new instrument on future ECM recordings and such. has =

anyone&nbsp;played this instrument? what are your thoughts about it? =
here is the=20
link for it.</DIV>
<DIV>&nbsp;</DIV>
<DIV><A=20
href=3D"http://www.togamanguitars.com/guitarviols/index.php">http://www.t=
ogamanguitars.com/guitarviols/index.php</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>also would you recommend any other violguitar models, brands that i =
should=20
check out before i make my final decision about which one&nbsp;to buy? i =
can pay=20
as much as 4000$.</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks a lot as always. best regards.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is =
out on New=20
Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz=20
Magazine<BR><A=20
href=3D"http://www.newalbion.com/NA_CDS/NA131/NA131.htm">www.newalbion.co=
m/NA_CDS/NA131/NA131.htm</A><BR><A=20
href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000=
GFLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=
=3DUTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A=
/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF=
8</A></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 13:57:54 2008
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Date: Thu, 4 Dec 2008 14:57:52 +0100
From: "Giovanni De Sisto" <giovannidesisto@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Boss RC-50. Switcing Patch on stage. Loop End mode. It does not work!
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Hi everyone!
I'm an italian guitar player. I've got a Boss RC-50 Loop Station since 2006.
As the title, i've a problem with this.
Follow me:
1. I record a pharse(4/4 120 btm) on pedal phrase one on patch one.
2. I save recorded phrase on patch one
3. I copy patch one into patch two.
4. Both patch are setting on "Loop End" mode (When a switch in patches or
the current phrase is
carried out, recording or playback of the next
designated patch or phrase begins once the end
of the current phrase (length of the current loop
when Loop Sync is on in Multi mode) is reached).
5. I start playng path one.
6. I select patch two with the knob (or pedals, there is no difference).
7. When patch one ends to play I wish that patch two start immidiately...
but is not!!! [image: Eek]
There is a delay time between the end of the execution of patch one and the
start of the execution of patch two! it'sounds orrible and is not possible
to sync well with the drummer!

Does anyone got the same problem?
Does anyone found the solution?
thanks for reply!

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Hi everyone!<br>I&#39;m an italian guitar player. I&#39;ve got a Boss RC-50 Loop Station since 2006.<br>As the title, i&#39;ve a problem with this.<br>Follow me:<br>1. I record a pharse(4/4 120 btm) on pedal phrase one on patch one.<br>
2. I save recorded phrase on patch one<br>3. I copy  patch one into patch two.<br>4.
Both patch are setting on &quot;Loop End&quot; mode (When a switch in patches or the current phrase is<br>carried out, recording or playback of the next<br>designated patch or phrase begins once the end<br>of the current phrase (length of the current loop<br>
when Loop Sync is on in Multi mode) is reached).<br>5. I start playng path one.<br>6. I select patch two with the knob (or pedals, there is no difference).<br>7. When patch one ends to play I wish that patch two start immidiately... but is not!!!  <img src="http://bose.infopop.cc/groupee_common/emoticons/icon_eek.gif" alt="Eek" width="15" height="15"> <br>
There
is a delay time between the end of the execution of patch one and the
start of the execution of patch two! it&#39;sounds orrible and is not
possible to sync well with the drummer!<br><br>Does anyone got the same problem?<br>Does anyone found the solution?<br>thanks for reply!

------=_Part_4864_33443598.1228399072702--

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 15:03:32 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: (OT) Re: Alternate Guitar Tunings
Date: Thu, 4 Dec 2008 07:03:25 -0800
To: Loopers-Delight@loopers-delight.com
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Yeah,

It's apparently a tuning that Clapton uses a lot.

I forgot to mention that I also use a VG99 and adore what the "All Es"=20=

re-tuning on that it does to my tuning.

I have no idea what tuning it wind up being but I've used that quite a=20=

bit live.

The B-bender feature is slick too.

On Dec 3, 2008, at 2:53 PM, Travis Hartnett wrote:

> C G D G A D is actually pretty popular these days.=A0 It seems to pop =
up=20
> in many interviews in the last few years.
>
> TH=

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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Alternate Guitar Tunings (OT)
Date: Thu, 4 Dec 2008 07:10:43 -0800
To: Loopers-Delight@loopers-delight.com
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If I recall, that' an old Nasville country music recording trick.

You can hear it on many C&W hits of the 50s, 60s and 70s.

Not done so much any more though.

On Dec 4, 2008, at 12:57 AM, Per Boysen wrote:

> Another good tuning for zing-zing-a-zing backing acoustic is to
> change the three lower strings to thinner strings that are tuned the
> same but one octave higher. Then you simply play the chords as usual
> and get kind of minimal chords, never wider than a triad, but with a
> very rich and layered tone.

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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: (OT) Re: Alternate Guitar Tunings
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wow Ted it does the b-bender?
can you do other pedal steel bendings with it as well?




> I have no idea what tuning it wind up being but I've
> used that quite a bit live.
>=20
> The B-bender feature is slick too.
>=20
> On Dec 3, 2008, at 2:53 PM, Travis Hartnett wrote:
>=20
> > C G D G A D is actually pretty popular these days.=A0
> It seems to pop up in many interviews in the last few years.
> >=20
> > TH=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 15:39:00 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: (OT) Re: Alternate Guitar Tunings
Date: Thu, 4 Dec 2008 07:38:54 -0800
To: Loopers-Delight@loopers-delight.com
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Luis,

There is no particular reason why you couldn't.

There are 2 expression pedals on the FC300 (controller) and jacks for=20
more CV pedals on both it and the VG99 (brain).

It might be tricky to program . . . but I bet a lot of fun could be had=20=

trying.

I may just try it myself.

I always wanted t play lap and/or pedal steel but could never get=20
comfortable with the hand-over-the-fretboard technique.

I gave away my lap steel a few years ago to a friend who could already=20=

play it better in 5 minutes than I could in 5 years.

You can't teach an old dog new tricks they say.

I guess I'm proof it's true.

Ted

On Dec 4, 2008, at 7:15 AM, L.Angulo wrote:

> wow Ted it does the b-bender?
> can you do other pedal steel bendings with it as well?
>
>
>
>
>> I have no idea what tuning it wind up being but I've
>> used that quite a bit live.
>>
>> The B-bender feature is slick too.
>>
>> On Dec 3, 2008, at 2:53 PM, Travis Hartnett wrote:
>>
>>> C G D G A D is actually pretty popular these days.=A0
>> It seems to pop up in many interviews in the last few years.
>>>
>>> TH
>
>
>
>

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Date: Thu, 4 Dec 2008 09:54:47 -0600
From: "Mark Smart" <marksmartus@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT : viol guitar
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I played one of these a couple of years ago at the NAMM show...WAY
COOL! Easy to play and sounds like an electric violin. I was having a
blast playing it. Wish I had the money to buy one! I probably will one
of these days.

You won't be disappointed.

-- 
Mark Smart
http://cdbaby.com/cd/marksmart
http://www.marksmart.net

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Yup, called the "Nashville tuning" in fact (though traditionally it 
changes the bottom four strings, using a 12-string set). Pat Metheny 
uses it a lot, in particular on his "One Quiet Night" record, albeit on 
a baritone guitar.

I played exclusively in DADGCF for five years, which was great for rock 
and helped me break out of certain ruts, but I never use alternate 
tunings anymore because I know I'll never be as comfortable as in 
standard tuning. I always want to be able (or aspire to be able) to play 
what jumps into my head at any given time, and playing in a different 
tuning is a handicap, to me, for that goal.

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

> If I recall, that' an old Nasville country music recording trick.
>
> You can hear it on many C&W hits of the 50s, 60s and 70s.
>
> Not done so much any more though.
>
> On Dec 4, 2008, at 12:57 AM, Per Boysen wrote:
>
>> Another good tuning for zing-zing-a-zing backing acoustic is to
>> change the three lower strings to thinner strings that are tuned the
>> same but one octave higher. Then you simply play the chords as usual
>> and get kind of minimal chords, never wider than a triad, but with a
>> very rich and layered tone.

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> and quieter than Roland switches  such as their FS-5U momentary switches
really??
Well, that should be really ok...
It really pisses me off when I set up a mic with a lot of reverb and I hear this click on the loop endlessly ;-)

So, it seem the Gordius is a real alternative to a Behringer with stripped down expression pedals - or better: on a Gordius I could still choose between small footprint (pun ;-) or additional expression pedal(s) when I need them.
Nice! :)

Buzap
-- 
Sensationsangebot verlängert: GMX FreeDSL - Telefonanschluss + DSL 
für nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=OM.AD.PD003K1308T4569a

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No, Metheny used a baritone tuning with only the middle pair of strings
transposed up an octave.

TH

On Thu, Dec 4, 2008 at 7:57 AM, Daryl Shawn <highhorse@mhorse.com> wrote:

> Yup, called the "Nashville tuning" in fact (though traditionally it changes
> the bottom four strings, using a 12-string set). Pat Metheny uses it a lot,
> in particular on his "One Quiet Night" record, albeit on a baritone guitar.
>
>

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No, Metheny used a baritone tuning with only the middle pair of strings transposed up an octave.<br><br>TH<br><br><div class="gmail_quote">On Thu, Dec 4, 2008 at 7:57 AM, Daryl Shawn <span dir="ltr">&lt;<a href="mailto:highhorse@mhorse.com">highhorse@mhorse.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Yup, called the &quot;Nashville tuning&quot; in fact (though traditionally it changes the bottom four strings, using a 12-string set). Pat Metheny uses it a lot, in particular on his &quot;One Quiet Night&quot; record, albeit on a baritone guitar.<br>

<br>
</blockquote></div><br>

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make a long loop and half speed!

On 1 Dec 2008, at 18:11, mark francombe wrote:

> What?? DAMN... Not me either... off to the dp to press lots of  
> buttons in funny combinations...
>
> On Mon, Dec 1, 2008 at 6:47 PM, Claude Voit <c.voit@vtx.ch> wrote:
> and there are not soo many real hardcore user as nobody ever found  
> the display joke we created ...
>
> :=)
>
> big kiss
>
> Claude
>
>
>
>
> -- 
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">make a long loop and half =
speed!<div><br><div><div>On 1 Dec 2008, at 18:11, mark francombe =
wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite">What?? DAMN... Not me either... off to the dp to press =
lots of buttons in funny combinations...<br><br><div =
class=3D"gmail_quote">On Mon, Dec 1, 2008 at 6:47 PM, Claude Voit <span =
dir=3D"ltr">&lt;<a href=3D"mailto:c.voit@vtx.ch">c.voit@vtx.ch</a>></span>=
 wrote:<br> <blockquote class=3D"gmail_quote" style=3D"border-left: 1px =
solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: =
1ex;">and there are not soo many real hardcore user as nobody ever found =
the display joke we created ...<br> <br> :=3D)<br> <br> big kiss<br> =
<br> Claude<br> <br> <br> <br></blockquote></div><br>-- <br><a =
href=3D"http://www.markfrancombe.com">www.markfrancombe.com</a><br><a =
href=3D"http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a=
 =
href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/us=
er/markfrancombe</a><br> <a =
href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/markf=
rancombe</a><br><a =
href=3D"http://www.looop.no">www.looop.no</a><br></blockquote></div><br></=
div></body></html>=

--Apple-Mail-39-992024404--

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 16:21:17 2008
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> shit man looks like this is it!!!!
He,he. Happy you've found a useful starting point ;-)

> any comments on it,reviews?how good are the drivers?latency with mobius?
Please, let's not start this RME vs. Motu discussion again..
To sum it up:
- RME seems to be best and worry-free
- I guess there have been some driver problems with MOTU in the past (rather Windows side however, not Mac)
- However, I haven't found anyone who really had problems with a Motu Ultralite. And I have talked with several people selling them regularly.
- Things might be different if you really want to use it also as designated high-end recording interface. Then mic pre quality etc could make an RME more favorable, I guess...

But this is all speculation. I have never heard anyone unhappy with one of these:
- RME Fireface 400
- Motu Ultralite
- Echo AudioFire4

Please correct me, folks, if you have different experience on this.

>Always fun to talk about designing flexible looping rigs! 
The problem is: You first think you know what you want/need. Then your needs/desires change... Look at Luis' problem: he didn't think he'd need post-fxs when he got his mixer...
My experience is that I've never ever regretted getting any gear that was two sizes too large (and expensive...) at the beginning - it was just perfect after a few years. :)

best regards
Buzap

-- 
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I stand corrected, thanks. cool idea. I love that record.

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


> No, Metheny used a baritone tuning with only the middle pair of 
> strings transposed up an octave.
>
> TH
>
> On Thu, Dec 4, 2008 at 7:57 AM, Daryl Shawn <highhorse@mhorse.com 
> <mailto:highhorse@mhorse.com>> wrote:
>
>     Yup, called the "Nashville tuning" in fact (though traditionally
>     it changes the bottom four strings, using a 12-string set). Pat
>     Metheny uses it a lot, in particular on his "One Quiet Night"
>     record, albeit on a baritone guitar.
>

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Yes, this is a basic problem with the RC-50. It was one of the biggest disappointments for me.
You can actually test it much easier: Just assign "next phrase" to an external pedal or i.e. tempo pedal. And press it during play.

Have you updated your RC-50 with the patch? Does this make a difference?

I think you won't have that problem with an RC-20xl btw.

best regards and let us know how things work out

Buzap


-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

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Jumping back to an earlier topic - this arrived today from one of my 
other lists...

http://www.exploratorium.edu/pie/library/songstones.html

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

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Date: Thu, 4 Dec 2008 11:54:58 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Alternate Guitar Tunings (OT)
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For many years I used nothing but opening tunings with a lot of energy going
into the everpopular DADGAD.  I was fortunate to get in the Mel Bay family a
few years ago and to my amazement got a book contract focused on DADGAD
with  an edict to do an extended work.  It's called DADGAD Encyclopediat and
information about it is available at
http://www.melbay.com/product.asp?ProductID=99934BCD&pageheader=&category=&author=1679&mode=author
.

Pieces from my record Stories My Guitar Told Me were done in some
interesting self-discovered ones, Light Cycles GADFAE, Manthang
EBEF#BC#(later dropped a step to DADEAB), Thai Chi and Transportation Suite
DADGCE and a piece on My SPace world A Room in a Dream AAEFCE.

All that stuff was from my other life following suite in homage to Michael
Hedges who was a profound influence on me for a long time, when I was doing
mainly solo composed guitar.  My journey to looping, improvisation and other
instrument exploring began @ 2 years ago and I must say I'm really enjoying
as well as this community.

Not to be arrogant but happy to share all I know about open tunings to any
interested as I have several years of expertise.

Best

Jim

On Thu, Dec 4, 2008 at 11:07 AM, Travis Hartnett
<travishartnett@gmail.com>wrote:

> No, Metheny used a baritone tuning with only the middle pair of strings
> transposed up an octave.
>
> TH
>
>
> On Thu, Dec 4, 2008 at 7:57 AM, Daryl Shawn <highhorse@mhorse.com> wrote:
>
>> Yup, called the "Nashville tuning" in fact (though traditionally it
>> changes the bottom four strings, using a 12-string set). Pat Metheny uses it
>> a lot, in particular on his "One Quiet Night" record, albeit on a baritone
>> guitar.
>>
>>
>


-- 
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

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<div>For many years I used nothing but opening tunings with a lot of energy going into the everpopular DADGAD.&nbsp; I was fortunate to get in the Mel Bay family a few years ago and to my amazement got a book contract focused on DADGAD with&nbsp; an edict to do an extended work.&nbsp; It&#39;s called DADGAD Encyclopediat and information about it is available at <a href="http://www.melbay.com/product.asp?ProductID=99934BCD&amp;pageheader=&amp;category=&amp;author=1679&amp;mode=author">http://www.melbay.com/product.asp?ProductID=99934BCD&amp;pageheader=&amp;category=&amp;author=1679&amp;mode=author</a>.</div>

<div>&nbsp;</div>
<div>Pieces from my record Stories My Guitar Told Me were done in some interesting self-discovered ones, Light Cycles GADFAE, Manthang EBEF#BC#(later dropped a step to DADEAB), Thai Chi and Transportation Suite DADGCE and a piece on My SPace world A Room in a Dream AAEFCE.</div>

<div>&nbsp;</div>
<div>All that stuff was from my other life following suite in homage to Michael Hedges who was a profound influence on me for a long time, when I was doing mainly solo composed guitar.&nbsp; My journey to looping, improvisation and other instrument exploring began @ 2 years ago and I must say I&#39;m really enjoying as well as this community.</div>

<div>&nbsp;</div>
<div>Not to be arrogant but happy to share all I know about open tunings to any interested as I have several years of expertise.</div>
<div>&nbsp;</div>
<div>Best</div>
<div>&nbsp;</div>
<div>Jim<br><br></div>
<div class="gmail_quote">On Thu, Dec 4, 2008 at 11:07 AM, Travis Hartnett <span dir="ltr">&lt;<a href="mailto:travishartnett@gmail.com">travishartnett@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">No, Metheny used a baritone tuning with only the middle pair of strings transposed up an octave.<br><font color="#888888"><br>
TH</font> 
<div>
<div></div>
<div class="Wj3C7c"><br><br>
<div class="gmail_quote">On Thu, Dec 4, 2008 at 7:57 AM, Daryl Shawn <span dir="ltr">&lt;<a href="mailto:highhorse@mhorse.com" target="_blank">highhorse@mhorse.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">Yup, called the &quot;Nashville tuning&quot; in fact (though traditionally it changes the bottom four strings, using a 12-string set). Pat Metheny uses it a lot, in particular on his &quot;One Quiet Night&quot; record, albeit on a baritone guitar.<br>
<br></blockquote></div><br></div></div></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin &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>

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Date: Thu, 4 Dec 2008 18:03:08 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Re: Gordius foot controller user experiences
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Dear Bill,

thanks for that detailed writeup on the Gordius. A few comments from my sid=
e:

> I assume you are trying to start you loops with open mics present, Rainer=
?  In a live situation the noise is negligible.
> In the studio,  with sensitive mics present, you might get a little bit o=
f mechanical noise  but I don't think it would be significant.
This may come as a surprise to you (and in fact to a lot of people on
this list), but my musical approach contains a) open mics about all
the time and more importantly b) passages which aren't compressed
drumbeat meets subbass attack meets distorted guitar all the way
through: I play a lot with very silent noises (opening your lips,
making that very silent "bpbbb" noise, breathing, playing quietly on a
trombone mouthpiece, gently pull back the slide etc.), and in such a
context (and taking into account that my mics are small-diaphragm
condensers, sometimes omnis), pedal noises can end up in a live
recording (although the audience at the venue might not hear it
consciously).

So something that would be noticeably louder than, say, a FCB1010
(which the Gordius is meant to replace) wouldn't be a good idea.

(one example for the quiet noises:
http://www.box.net/shared/l8rqu1pw8o - or ask your brother for
first-hand experience)

About the FCB1010, you said:
> [...] as well as slight transformer noise.

I noticed it, too, with the second FCB1010 I got (the first one was
and still is dead quiet). Got it replaced, still the same problem. The
issue: Behringer works like any company which manufactures in high
volumes does: they saved about =800.0007 on the washers for the mount of
the transformer. Solution: get some yourself (or, if you don't want to
leave the house, simply put some duct tape in between), and the noise
disappears.

Thanks again,

             Rainer

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Subject: Re: Alternate Guitar Tunings (OT)
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I'm with you Daryl, I have messed with alt tunings some but when I play I 
always use standard. Well until I met your partner Jim Goodin (virtually). I 
have taken up the oud, tuning E A B E A D which I find that damnd B string 
course to be very counter intuitive to the way I play. I still "think" 
guitar. And being fretless it's taking alot of practice to be acurate. I 
love it though and new things keep my old brain from atrophying (I hope). 
For guitar though after all these years I have not even scratched the 
surface with the good old standard. Ahh, so many notes, so little time..

peace,

Jeff
http://www.myspace.com/loopsinphasespace


----- Original Message ----- 
From: "Daryl Shawn" <highhorse@mhorse.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 04, 2008 10:57 AM
Subject: Re: Alternate Guitar Tunings (OT)


> Yup, called the "Nashville tuning" in fact (though traditionally it
> changes the bottom four strings, using a 12-string set). Pat Metheny
> uses it a lot, in particular on his "One Quiet Night" record, albeit on
> a baritone guitar.
>
> I played exclusively in DADGCF for five years, which was great for rock
> and helped me break out of certain ruts, but I never use alternate
> tunings anymore because I know I'll never be as comfortable as in
> standard tuning. I always want to be able (or aspire to be able) to play
> what jumps into my head at any given time, and playing in a different
> tuning is a handicap, to me, for that goal.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>> If I recall, that' an old Nasville country music recording trick.
>>
>> You can hear it on many C&W hits of the 50s, 60s and 70s.
>>
>> Not done so much any more though.
>>
>> On Dec 4, 2008, at 12:57 AM, Per Boysen wrote:
>>
>>> Another good tuning for zing-zing-a-zing backing acoustic is to
>>> change the three lower strings to thinner strings that are tuned the
>>> same but one octave higher. Then you simply play the chords as usual
>>> and get kind of minimal chords, never wider than a triad, but with a
>>> very rich and layered tone.
>


--------------------------------------------------------------------------------



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Nashville Tuning, as I've come to understand it is actually the four lowest
strings being replaced by octave unison strings. Think using a 12 string set
but taking out all of the fat strings and just using the octaves on strings
6 through 3. GHS offers a set that ranges from string 1 to 6 ; .012,.016,
.010, .012, .016,. .024w.  I string my Martin 5-15 terz size guitar with
this set and it sounds shimmery and lovely and is great for doubling parts
or playing arpeggios. I like using Nashville tuning and then retuning to an
alternate tuning like DADGAD, would that make it NashGad???  I'm really
enjoying SUS2 tunings like DADEAD, because like DADGAD they can work with
either minor or major keys due to the absence of the 3rd.

 bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Nashville Tuning, as I&#8217;ve come to understand it =
is
actually the four lowest strings being replaced by octave unison =
strings. Think
using a 12 string set but taking out all of the fat strings and just =
using the
octaves on strings 6 through 3. GHS offers a set that ranges from string =
1 to 6
; .012,.016, .010, .012, .016,. .024w. &nbsp;I string my Martin 5-15 =
terz size
guitar with this set and it sounds shimmery and lovely and is great for
doubling parts or playing arpeggios. I like using <st1:City =
w:st=3D"on"><st1:place
 w:st=3D"on">Nashville</st1:place></st1:City> tuning and then retuning =
to an
alternate tuning like DADGAD, would that make it NashGad???&nbsp; =
I&#8217;m
really enjoying SUS2 tunings like DADEAD, because like DADGAD they can =
work
with either minor or major keys due to the absence of the =
3<sup>rd</sup>.<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;bill<o:p></o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 17:22:38 2008
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Date: Thu, 4 Dec 2008 12:22:33 -0500
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nice synth usage. enjoyed it.

On Wed, Dec 3, 2008 at 5:46 PM, <HarryEsq@aol.com> wrote:

>  Listening right now.  Beautiful.  Captures my current overworked, tired
> mood completely.
>
> Peace,
>
> Harry Weinberg, Esq.
> Law Offices of Harry Weinberg
> 11 Beach Street - 8th Floor
> New York, N.Y. 10013
> (212) 989-2908
>
>  In a message dated 12/3/2008 12:02:26 P.M. Eastern Standard Time,
> billwalker@baymoon.com writes:
>
>  I love this Fabio, I can feel the melancholy. I feel you brother.
>
> Bill
>
>
>  ------------------------------
>
> *From:* eterogeneo [mailto:info@eterogeneo.com]
> *Sent:* Monday, December 01, 2008 6:15 AM
> *To:* ambient@hyperreal.org; Loopers-Delight@loopers-delight.com
> *Subject:* New realtime recording uploaded
>
>
>
> Hi all,
>
> just to share - here's a "fresh" new improvvisation i recorded in real time
> last night.
>
> http://www.eterogeneo.com/podcast/Weightless.mp3   also available on my
> podcast<http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=217423588>
>
>
>
> I used Mobius running as a VST inside Bidule,
>
> 5 VST effect plugins and my piano and no final editing (all mistakes are
> all there....).
>
>
>
> Greetings
>
>
>
> Fabio
>
> www.eterogeneo.com
>
> www.myspace.com/eterogeneo
>
>
>
>
>
>
>
>
>
>
> ------------------------------
> Make your life easier with all your friends, email, and favorite sites in
> one place. Try it now<http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom00000010>
> .
>

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nice synth usage. enjoyed it.<br><br><div class="gmail_quote">On Wed, Dec 3, 2008 at 5:46 PM,  <span dir="ltr">&lt;<a href="mailto:HarryEsq@aol.com">HarryEsq@aol.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">




<div style="font-size: 10pt; color: rgb(0, 0, 0); font-family: Arial;"><font size="2" color="#000000" face="Arial">
<div>Listening right now.&nbsp; Beautiful.&nbsp; Captures my current overworked, 
tired mood completely.</div>
<div>&nbsp;</div>
<div>Peace,</div>
<div>&nbsp;</div>
<div><font size="2" face="Arial" lang="0">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><div></div><div class="Wj3C7c"><div>&nbsp;</div>
<div>
<div>In a message dated 12/3/2008 12:02:26 P.M. Eastern Standard Time, 
<a href="mailto:billwalker@baymoon.com" target="_blank">billwalker@baymoon.com</a> writes:</div>
<blockquote style="border-left: 2px solid blue; padding-left: 5px; margin-left: 5px;"><font style="background-color: transparent;" size="2" color="#000000" face="Arial">
  <div>
  <p><font size="2" color="navy" face="Arial"><span style="font-size: 10pt; color: navy; font-family: Arial;">I love this Fabio, I 
  can feel the melancholy. I feel you brother.</span></font></p>
  <p><font size="2" color="navy" face="Arial"><span style="font-size: 10pt; color: navy; font-family: Arial;">Bill</span></font></p>
  <p><font size="2" color="navy" face="Arial"><span style="font-size: 10pt; color: navy; font-family: Arial;">&nbsp;</span></font></p>
  <div>
  <div style="text-align: center;" align="center"><font size="3" face="Times New Roman"><span style="font-size: 12pt;">
  <hr size="2" width="100%" align="center">
  </span></font></div>
  <p><b><font size="2" face="Tahoma"><span style="font-weight: bold; font-size: 10pt; font-family: Tahoma;">From:</span></font></b><font size="2" face="Tahoma"><span style="font-size: 10pt; font-family: Tahoma;"> 
  eterogeneo 
  [mailto:<a href="mailto:info@eterogeneo.com" target="_blank">info@eterogeneo.com</a>] 
  <br><b><span style="font-weight: bold;">Sent:</span></b> Monday, December 01, 
  2008 6:15 AM<br><b><span style="font-weight: bold;">To:</span></b> 
  <a href="mailto:ambient@hyperreal.org" target="_blank">ambient@hyperreal.org</a>; 
  <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br><b><span style="font-weight: bold;">Subject:</span></b> New realtime recording uploaded 
  </span></font></p></div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;">Hi all, 
  </span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;">just to 
  share - here&#39;s a &quot;fresh&quot; new improvvisation i recorded in real time last 
  night.</span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;"><a title="http://www.eterogeneo.com/podcast/Weightless.mp3" href="http://www.eterogeneo.com/podcast/Weightless.mp3" target="_blank">http://www.eterogeneo.com/podcast/Weightless.mp3</a>&nbsp;&nbsp;&nbsp;also 
  available on my <a title="http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=217423588" href="http://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?id=217423588" target="_blank">podcast</a></span></font></p>
</div>
  <div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;">I used 
  Mobius running as a VST inside Bidule, </span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;">5 VST effect 
  plugins and my piano and&nbsp;no&nbsp;final editing (all mistakes are all 
  there....).</span></font></p></div>
  <div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;">Greetings</span></font></p></div>
  <div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;">Fabio</span></font></p></div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;"><a title="http://www.eterogeneo.com/" href="http://www.eterogeneo.com/" target="_blank">www.eterogeneo.com</a></span></font></p>
</div>
  <div>
  <p><font size="3" color="navy" face="Book Antiqua"><span style="font-size: 12pt; color: navy; font-family: &#39;Book Antiqua&#39;;"><a title="http://www.myspace.com/eterogeneo" href="http://www.myspace.com/eterogeneo" target="_blank">www.myspace.com/eterogeneo</a></span></font></p>
</div>
  <div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p></div>
  <div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p></div>
  <div>
  <p><font size="3" face="Times New Roman"><span style="font-size: 12pt;"></span></font>&nbsp;</p></div></div></font></blockquote></div></div></div></font></div></font><br><br><br><div><font style="color: black; font-family: ARIAL,SAN-SERIF; font-style: normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adjust: none; font-stretch: normal;"><hr style="margin-top: 10px;">
Make your life easier with all your friends, email, and favorite sites in one place.  <a href="http://www.aol.com/?optin=new-dp&amp;icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010" target="_blank">Try it now</a>.</font></div>
</div>
</blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 17:36:37 2008
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Date: Thu, 4 Dec 2008 12:36:35 -0500
From: "Todd Matthews" <gtmatthews@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: effective mobius,mixer and soundcard routing
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My ultralite was ok but the technical support was the worst I have
ever dealt with...I use mine with a mac mini.... could just been bad
luck but I believe I mentioned it on this list a while back and there
were others that had similar experiences. It made it a deal breaker
for me and helped me decide to go hardware for now. If I ever go
laptop for live gigs I'm selling my ultralite and going with a company
that provides great support. That said there are many successful
people using them for live shows just tossing in my experience for
whats its worth. I still use my ultralite with my mac mini to
experiment with software looping for the time being.

Todd

On Thu, Dec 4, 2008 at 11:21 AM, Buzap Buzap <buzap@gmx.net> wrote:
>> shit man looks like this is it!!!!
> He,he. Happy you've found a useful starting point ;-)
>
>> any comments on it,reviews?how good are the drivers?latency with mobius?
> Please, let's not start this RME vs. Motu discussion again..
> To sum it up:
> - RME seems to be best and worry-free
> - I guess there have been some driver problems with MOTU in the past (rat=
her Windows side however, not Mac)
> - However, I haven't found anyone who really had problems with a Motu Ult=
ralite. And I have talked with several people selling them regularly.
> - Things might be different if you really want to use it also as designat=
ed high-end recording interface. Then mic pre quality etc could make an RME=
 more favorable, I guess...
>
> But this is all speculation. I have never heard anyone unhappy with one o=
f these:
> - RME Fireface 400
> - Motu Ultralite
> - Echo AudioFire4
>
> Please correct me, folks, if you have different experience on this.
>
>>Always fun to talk about designing flexible looping rigs!
> The problem is: You first think you know what you want/need. Then your ne=
eds/desires change... Look at Luis' problem: he didn't think he'd need post=
-fxs when he got his mixer...
> My experience is that I've never ever regretted getting any gear that was=
 two sizes too large (and expensive...) at the beginning - it was just perf=
ect after a few years. :)
>
> best regards
> Buzap
>
> --
> Sensationsangebot verl=E4ngert: GMX FreeDSL - Telefonanschluss + DSL
> f=FCr nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=3DOM.AD.PD003K1308T4569=
a
>
>

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 17:51:17 2008
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Date: Thu, 4 Dec 2008 18:51:16 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: effective mobius,mixer and soundcard routing
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I can only speak for the RME FireFace400 out of hands-on experience,
but with this interface's "RME mixer" software driver it would be
possible to take out two cables (stereo left/right), run them into a
reverb unit and then back into the FireFAce400 to route them to the
output that goes to the PA speakers. My main looping rig already uses
this physical patching technique to send the signal from one
standalone software into another standalone software while still
feeding both software's main output into the house PA output.

I know MOTU audio interfaces come with at similar software mixer, so
maybe adding a reverb unit by physical patching would be possible
there as well?

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.myspace.com/perboysen
www.stockholm-athens.com

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 18:26:16 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: effective mobius,mixer and soundcard routing
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yes, Sjaak i am still looking for a review on this baby!!i will be trsying =
it out soon though.
I just want a system that i can travel with,the less cables,or xtra hardwar=
e involved the better.
cheers
Luis

www.myspace.com/luisangulocom


--- On Thu, 12/4/08, Sjaak <tcplugin@scarlet.be> wrote:

> From: Sjaak <tcplugin@scarlet.be>
> Subject: Re: effective mobius,mixer and soundcard routing
> To: "Loopers-Delight" <Loopers-Delight@loopers-delight.com>
> Date: Thursday, December 4, 2008, 3:16 AM
> Btw: the idea about the Motu ultralite-mk3 is good one, that
> seems a flexible and good audio card. I can get a Sound On
> Sound review if you want, just let me know.
>=20
> Always fun to talk about designing flexible looping rigs! I
> would expect that what Luis wants should be possible but
> it=E2=80=99s seems not so easy. I=E2=80=99ve been investigating a 100%
> software rig too but correct me if I=E2=80=99m wrong, the problem
> has been and seems to be a flexible integration of the
> mixer, looper (pre/post FX) and the routing to the audio
> card. Plus I would like to see it working with a low CPU
> soft synth in a Mainstage like architecture. It would be
> fantastic to have something like this all in a small laptop.
> Imo, a disadvantage of this type of configurations is that
> you first have to invest a big amount of money before you
> can start trying it out without being sure it=E2=80=99s going to
> work. But things are constantly improving so I=E2=80=99m watching
> these threads closely.
>=20
> An alternative combo I=E2=80=99m personally thinking of is the
> LP1, Line 6 M13 + a MFC. Yes, it=E2=80=99s hardware but the
> combined specs look very promising. The M13 has stereo FX
> send/returns and you can put your own external device (eg
> EDP or LP1) anywhere in the FX chain of the M13. So
> something like
>=20
> pre-fx 1,2,3 =3D> looper =3D> post-fx or
> pre-fx 1,2,3,4 =3D> looper
>=20
> is all be possible. By using the M13 scenes (setups) you
> can change the stomp box + FX send/return setup on the fly.
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>=20
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen abonnement
> meer!
> Doe mee en surf ook gratis! >>
> http://www.scarlet.be/nl/mgm=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 18:29:30 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: Alternate Guitar Tunings (OT)
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hmm...you mean digiridoo?

> Hmmm, I use diggidygad (DGDGAD) so much of the time;
> 
>


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 18:33:59 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: effective mobius,mixer and soundcard routing
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oh yes,i know is  nice i own the big brother RME FW800 which i use for home recording,too bad is to big for a lappy setup
but who knows i might sell it and get this compact one,hell i can also use it for home recording just as well!

www.myspace.com/luisangulocom


--- On Thu, 12/4/08, Per Boysen <perboysen@gmail.com> wrote:

> From: Per Boysen <perboysen@gmail.com>
> Subject: Re: effective mobius,mixer and soundcard routing
> To: Loopers-Delight@loopers-delight.com
> Date: Thursday, December 4, 2008, 9:51 AM
> I can only speak for the RME FireFace400 out of hands-on
> experience,
> but with this interface's "RME mixer"
> software driver it would be
> possible to take out two cables (stereo left/right), run
> them into a
> reverb unit and then back into the FireFAce400 to route
> them to the
> output that goes to the PA speakers. My main looping rig
> already uses
> this physical patching technique to send the signal from
> one
> standalone software into another standalone software while
> still
> feeding both software's main output into the house PA
> output.
> 
> I know MOTU audio interfaces come with at similar software
> mixer, so
> maybe adding a reverb unit by physical patching would be
> possible
> there as well?
> 
> -- 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.myspace.com/perboysen
> www.stockholm-athens.com


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 18:38:20 2008
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Date: Thu, 4 Dec 2008 10:38:19 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: Alternate Guitar Tunings (OT)
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This is an awesome idea! I'd never heard of it. I will have to try it asap. The only question...which guitar to re-string and set up? I imagine this would also work fine with an electric or semi-hollow body.

Decisions, decisions...

----- Original Message ----
From: Per Boysen <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Sent: Thursday, December 4, 2008 12:57:38 AM
Subject: Re: Alternate Guitar Tunings (OT)

Once I was talking to a guy that used G-G-G-G-G-G. A bit spectacular
maybe. Another good tuning for zing-zing-a-zing backing acoustic is to
change the three lower strings to thinner strings that are tuned the
same but one octave higher. Then you simply play the chords as usual
and get kind of minimal chords, never wider than a triad, but with a
very rich and layered tone. For recording, in a pop band context, this
is an awesome trick. The problem with recording acoustic guitar is
always that it has too much bass, so why not simply take out those too
bassy strings and add three more of the strings that sound good in a
mix together with drums, bass and vocals! Lush!

per


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 18:46:33 2008
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Date: Thu, 4 Dec 2008 12:46:29 -0600
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> oh yes,i know is nice i own the big brother RME FW800 which i use for
> home recording,too bad is to big for a lappy setup but who knows i
> might sell it and get this compact one,hell i can also use it for home
> recording just as well!

I hate getting in the way of someone's gear lust, but if the point
of all this was to add a reverb tail to a Mobius loop, there WILL
be a VST version on the Mac very soon.  It's working now, I'm just
getting some kinks worked out of the UI.  If you have another use
in mind for the Ultralite/RME then fine, but don't spend $500-800
USD just to get a reverb tail :-)

Jeff

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 18:48:55 2008
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Country players do this all the time.  They call it 'High Strung  
Guitar' where the lower strings are light gauge (or like the first  
three strings in a guitar set).  It's really cool. Big jangle

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com


On Dec 4, 2008, at 10:38 AM, George Ludwig wrote:

> This is an awesome idea! I'd never heard of it. I will have to try  
> it asap. The only question...which guitar to re-string and set up? I  
> imagine this would also work fine with an electric or semi-hollow  
> body.
>
> Decisions, decisions...
>
> ----- Original Message ----
> From: Per Boysen <perboysen@gmail.com>
> To: Loopers-Delight@loopers-delight.com
> Sent: Thursday, December 4, 2008 12:57:38 AM
> Subject: Re: Alternate Guitar Tunings (OT)
>
> Once I was talking to a guy that used G-G-G-G-G-G. A bit spectacular
> maybe. Another good tuning for zing-zing-a-zing backing acoustic is to
> change the three lower strings to thinner strings that are tuned the
> same but one octave higher. Then you simply play the chords as usual
> and get kind of minimal chords, never wider than a triad, but with a
> very rich and layered tone. For recording, in a pop band context, this
> is an awesome trick. The problem with recording acoustic guitar is
> always that it has too much bass, so why not simply take out those too
> bassy strings and add three more of the strings that sound good in a
> mix together with drums, bass and vocals! Lush!
>
> per
>
>
>
>

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com






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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Country players do this all the =
time. &nbsp;They call it 'High Strung Guitar' where the lower strings =
are light gauge (or like the first three strings in a guitar set). =
&nbsp;It's really cool. Big jangle<div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">RICHARD =
SALES</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div></span><div><div>On Dec 4, 2008, at =
10:38 AM, George Ludwig wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>This =
is an awesome idea! I'd never heard of it. I will have to try it asap. =
The only question...which guitar to re-string and set up? I imagine this =
would also work fine with an electric or semi-hollow =
body.<br><br>Decisions, decisions...<br><br>----- Original Message =
----<br>From: Per Boysen &lt;<a =
href=3D"mailto:perboysen@gmail.com">perboysen@gmail.com</a>><br>To: <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br>Sent: Thursday, December 4, 2008 12:57:38 =
AM<br>Subject: Re: Alternate Guitar Tunings (OT)<br><br>Once I was =
talking to a guy that used G-G-G-G-G-G. A bit spectacular<br>maybe. =
Another good tuning for zing-zing-a-zing backing acoustic is =
to<br>change the three lower strings to thinner strings that are tuned =
the<br>same but one octave higher. Then you simply play the chords as =
usual<br>and get kind of minimal chords, never wider than a triad, but =
with a<br>very rich and layered tone. For recording, in a pop band =
context, this<br>is an awesome trick. The problem with recording =
acoustic guitar is<br>always that it has too much bass, so why not =
simply take out those too<br>bassy strings and add three more of the =
strings that sound good in a<br>mix together with drums, bass and =
vocals! =
Lush!<br><br>per<br><br><br><br><br></div></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

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Date: Thu, 4 Dec 2008 10:52:05 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Alternate Guitar Tunings (OT)
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I believe the guitar intro to the Rolling Stones "Wild Horses" is in
Nashville tuning if anyone's curious as to what it sounds like.

TH

On Thu, Dec 4, 2008 at 10:48 AM, RICHARD SALES <richard@glasswing.com>wrote:

> Country players do this all the time.  They call it 'High Strung Guitar'
> where the lower strings are light gauge (or like the first three strings in
> a guitar set).  It's really cool. Big jangle
>
>

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I believe the guitar intro to the Rolling Stones &quot;Wild Horses&quot; is in Nashville tuning if anyone&#39;s curious as to what it sounds like.&nbsp; <br><br>TH<br><br><div class="gmail_quote">On Thu, Dec 4, 2008 at 10:48 AM, RICHARD SALES <span dir="ltr">&lt;<a href="mailto:richard@glasswing.com">richard@glasswing.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div style="">Country players do this all the time. &nbsp;They call it &#39;High Strung Guitar&#39; where the lower strings are light gauge (or like the first three strings in a guitar set). &nbsp;It&#39;s really cool. Big jangle<div>
<br></div><br></div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 19:00:03 2008
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oops!  Just re read that you'd already discussed the 'Nashville  
tuning' link.  I learned the "High Strung Tuning" name from Danny  
Gatton.  It may have changed names since then.

On Dec 4, 2008, at 10:48 AM, RICHARD SALES wrote:

> Country players do this all the time.  They call it 'High Strung  
> Guitar' where the lower strings are light gauge (or like the first  
> three strings in a guitar set).  It's really cool. Big jangle
>
> RICHARD SALES
> www.glasswing.com
> www.richardsales.com
> www.hayleysales.com
>
>
> On Dec 4, 2008, at 10:38 AM, George Ludwig wrote:
>
>> This is an awesome idea! I'd never heard of it. I will have to try  
>> it asap. The only question...which guitar to re-string and set up?  
>> I imagine this would also work fine with an electric or semi-hollow  
>> body.
>>
>> Decisions, decisions...
>>
>> ----- Original Message ----
>> From: Per Boysen <perboysen@gmail.com>
>> To: Loopers-Delight@loopers-delight.com
>> Sent: Thursday, December 4, 2008 12:57:38 AM
>> Subject: Re: Alternate Guitar Tunings (OT)
>>
>> Once I was talking to a guy that used G-G-G-G-G-G. A bit spectacular
>> maybe. Another good tuning for zing-zing-a-zing backing acoustic is  
>> to
>> change the three lower strings to thinner strings that are tuned the
>> same but one octave higher. Then you simply play the chords as usual
>> and get kind of minimal chords, never wider than a triad, but with a
>> very rich and layered tone. For recording, in a pop band context,  
>> this
>> is an awesome trick. The problem with recording acoustic guitar is
>> always that it has too much bass, so why not simply take out those  
>> too
>> bassy strings and add three more of the strings that sound good in a
>> mix together with drums, bass and vocals! Lush!
>>
>> per
>>
>>
>>
>>
>
> RICHARD SALES
> www.glasswing.com
> www.richardsales.com
> www.hayleysales.com
>
>
>
>
>

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com






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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">oops! &nbsp;Just re read that =
you'd already discussed the 'Nashville tuning' link. &nbsp;I learned the =
"High Strung Tuning" name from Danny Gatton. &nbsp;It may have changed =
names since then.&nbsp;<div><br><div><div>On Dec 4, 2008, at 10:48 AM, =
RICHARD SALES wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Country players do this all the =
time. &nbsp;They call it 'High Strung Guitar' where the lower strings =
are light gauge (or like the first three strings in a guitar set). =
&nbsp;It's really cool. Big jangle<div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">RICHARD =
SALES</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div></span><div><div>On Dec 4, 2008, at =
10:38 AM, George Ludwig wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>This =
is an awesome idea! I'd never heard of it. I will have to try it asap. =
The only question...which guitar to re-string and set up? I imagine this =
would also work fine with an electric or semi-hollow =
body.<br><br>Decisions, decisions...<br><br>----- Original Message =
----<br>From: Per Boysen &lt;<a =
href=3D"mailto:perboysen@gmail.com">perboysen@gmail.com</a>><br>To: <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br>Sent: Thursday, December 4, 2008 12:57:38 =
AM<br>Subject: Re: Alternate Guitar Tunings (OT)<br><br>Once I was =
talking to a guy that used G-G-G-G-G-G. A bit spectacular<br>maybe. =
Another good tuning for zing-zing-a-zing backing acoustic is =
to<br>change the three lower strings to thinner strings that are tuned =
the<br>same but one octave higher. Then you simply play the chords as =
usual<br>and get kind of minimal chords, never wider than a triad, but =
with a<br>very rich and layered tone. For recording, in a pop band =
context, this<br>is an awesome trick. The problem with recording =
acoustic guitar is<br>always that it has too much bass, so why not =
simply take out those too<br>bassy strings and add three more of the =
strings that sound good in a<br>mix together with drums, bass and =
vocals! =
Lush!<br><br>per<br><br><br><br><br></div></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
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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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> =
</div><br></div></div></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; 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; =
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-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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
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-webkit-border-vertical-spacing: 0px; =
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iv><br></div></div></span><br =
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--Apple-Mail-3-1001892533--

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 19:45:35 2008
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From: "Dave Gallaher" <micdave@hiwaay.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Alternate Guitar Tunings (OT)
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Correct--I've heard that described as 'Nashville tuning' in the past.

dave 
 

If I recall, that' an old Nasville country music recording trick.

You can hear it on many C&W hits of the 50s, 60s and 70s.

Not done so much any more though.

On Dec 4, 2008, at 12:57 AM, Per Boysen wrote:

> Another good tuning for zing-zing-a-zing backing acoustic is to
> change the three lower strings to thinner strings that are tuned the
> same but one octave higher. Then you simply play the chords as usual
> and get kind of minimal chords, never wider than a triad, but with a
> very rich and layered tone.



From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 19:56:43 2008
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Sorry for duplication--I posted this before the rest of the emails had
downloaded.

dave 
 

Correct--I've heard that described as 'Nashville tuning' in the past.

dave 
 

If I recall, that' an old Nasville country music recording trick.

You can hear it on many C&W hits of the 50s, 60s and 70s.

Not done so much any more though.

On Dec 4, 2008, at 12:57 AM, Per Boysen wrote:

> Another good tuning for zing-zing-a-zing backing acoustic is to
> change the three lower strings to thinner strings that are tuned the
> same but one octave higher. Then you simply play the chords as usual
> and get kind of minimal chords, never wider than a triad, but with a
> very rich and layered tone.





From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 21:08:40 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: RE: effective mobius,mixer and soundcard routing
To: Loopers-Delight@loopers-delight.com
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well no no,i am just trying out a little mackie havent bought it yet,which costs alomost 300.-eur.then the soundcard thats another 300,-,yes i am using it in the mon send to get the post fx which is cool but ill need a wide table to sit soundcard,mixer,laptop all sort of scarered around and do all this conections, so i am thinking instead of all that why not have all the eqs,pre fx,mixer,post efx etc.  plus a soundcard all in one? i would still be cheaper, conect quicker,less cables and take less space!another thing that seems nice about the motu is the integrated midi conection and is also powered by the firewire port(no need for power supply)the firebox requires an x-tra adaptor to use it midi,no biggi offcourse but as i said the less cables the better!
Luis

www.myspace.com/luisangulocom


--- On Thu, 12/4/08, Jeff Larson <jeff.larson@sailpoint.com> wrote:

> From: Jeff Larson <jeff.larson@sailpoint.com>
> Subject: RE: effective mobius,mixer and soundcard routing
> To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
> Date: Thursday, December 4, 2008, 10:46 AM
> > oh yes,i know is nice i own the big brother RME FW800
> which i use for
> > home recording,too bad is to big for a lappy setup but
> who knows i
> > might sell it and get this compact one,hell i can also
> use it for home
> > recording just as well!
> 
> I hate getting in the way of someone's gear lust, but
> if the point
> of all this was to add a reverb tail to a Mobius loop,
> there WILL
> be a VST version on the Mac very soon.  It's working
> now, I'm just
> getting some kinks worked out of the UI.  If you have
> another use
> in mind for the Ultralite/RME then fine, but don't
> spend $500-800
> USD just to get a reverb tail :-)
> 
> Jeff


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 21:14:52 2008
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From: "eterogeneo" <info@eterogeneo.com>
To: <Loopers-Delight@loopers-delight.com>
References: <66f9cc1e0812031330t2e1b5636v439309fae3564646@mail.gmail.com>
Subject: Re: song uploaded for sharing: "The Yogi and the Commissar"
Date: Thu, 4 Dec 2008 22:14:49 +0100
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Great Per, your music/playing/tachnics have always something new !
Lot to learn from your approach.
Thanks for sharing.

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo

----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 03, 2008 10:30 PM
Subject: song uploaded for sharing: "The Yogi and the Commissar"


> If anyone's is in the mood for listening I just posted a looping heavy
> song here:
>
> http://www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>>"The Yogi and the Commissar"
>>
>> About the song:
>> I wanted to give my three sexiest instruments three minutes to make out 
>> on the web.
>> They took three fifty three.
>>
>> Equipment:
>> Alto Flute, Tenor Sax, Stratocaster Electric Guitar,
>> Electric Wind Controller (EWI 9000s),
>> Mobius looping software,
>> Logic Pro recording software.
>
> I had a problem finding a proper style tag and finally settled for "jazz".
>
> Per
>
>


--------------------------------------------------------------------------------



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8.05

From z2e20@eircom.net  Thu Dec  4 22:51:24 2008
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From: "Nikolay Sintsov" <z2e20@eircom.net>
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Good day,
 
I am Nikolay Sintsov,personal assistant to Mikhail Khodorkovsky,once rated as the richest man in Russia and owner of YUKOS OIL (Russian largest oil company),chairman CEO: Menatep SBP Bank (a well reputable financial institution with its branches all over the world).
 

SOURCE OF FUNDS:

I have a profiling amount in an excess of US$40.5M, which I seek you to accommodate for me. You will be rewarded with 40% of the total sum for your partnership. Can you handle this?
 

As his personal assistant, I was authorized to transfer money of an American oil merchant for his last oil deal with my boss  Mikhail Khodorkovsky.
The funds  have  since left the shores of America to a European private financial  institution where the final crediting is to be carried out.
 

While I was on the process, my boss got arrested for his involvement in politics by financing the leading and opposing political parties (the Union of Right Forces, led by Boris Nemtsov, and Yabloko, a liberal/social democratic party led by Gregor Yavlinsky), which posed as a threat to President Vladimir Putin's second Tenure as Russian president. 
 

Since then, I have placed on hold all transactions concerning this amount. 
You can catch more of the story on this website:
 
http://www.yukos.com
http://news.ft.com/cms/4bb9612a-d254-11d8-b661-00000e2511c8.html
http://www.hoovers.com/yukos/--ID__53700--/free-co-factsheet.xhtml
http://newsfromrussia.com/main/2003/11/13/51215.html
 

YOUR ROLE:
 
All I need from you is to stand as the beneficiary of the above mentioned sum and  I will  re-profile the funds with your data, which will enable the financial firm transfer the sum to you. I have decided to use this sum to relocate to the American continent and never to be connected to any of Mikhail Khodorkovsky conglomerates, presently I am in Burkina faso, West Africa,for a hide out,as it's a remote country. 
 

The transaction has to be concluded as soon and as I confirm your readiness to proceed with me, I will provide you with details.



Thank you very much.
 
Regards,
Mr.Nikolay Sintsov.
 



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From z2e20@eircom.net  Thu Dec  4 23:05:35 2008
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From: "Nikolay Sintsov" <z2e20@eircom.net>
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Message-Id: <20081204230535.54DA83BE93@arsenic.violacea.com>

Good day,
 
I am Nikolay Sintsov,personal assistant to Mikhail Khodorkovsky,once rated as the richest man in Russia and owner of YUKOS OIL (Russian largest oil company),chairman CEO: Menatep SBP Bank (a well reputable financial institution with its branches all over the world).
 

SOURCE OF FUNDS:

I have a profiling amount in an excess of US$40.5M, which I seek you to accommodate for me. You will be rewarded with 40% of the total sum for your partnership. Can you handle this?
 

As his personal assistant, I was authorized to transfer money of an American oil merchant for his last oil deal with my boss  Mikhail Khodorkovsky.
The funds  have  since left the shores of America to a European private financial  institution where the final crediting is to be carried out.
 

While I was on the process, my boss got arrested for his involvement in politics by financing the leading and opposing political parties (the Union of Right Forces, led by Boris Nemtsov, and Yabloko, a liberal/social democratic party led by Gregor Yavlinsky), which posed as a threat to President Vladimir Putin's second Tenure as Russian president. 
 

Since then, I have placed on hold all transactions concerning this amount. 
You can catch more of the story on this website:
 
http://www.yukos.com
http://news.ft.com/cms/4bb9612a-d254-11d8-b661-00000e2511c8.html
http://www.hoovers.com/yukos/--ID__53700--/free-co-factsheet.xhtml
http://newsfromrussia.com/main/2003/11/13/51215.html
 

YOUR ROLE:
 
All I need from you is to stand as the beneficiary of the above mentioned sum and  I will  re-profile the funds with your data, which will enable the financial firm transfer the sum to you. I have decided to use this sum to relocate to the American continent and never to be connected to any of Mikhail Khodorkovsky conglomerates, presently I am in Burkina faso, West Africa,for a hide out,as it's a remote country. 
 

The transaction has to be concluded as soon and as I confirm your readiness to proceed with me, I will provide you with details.



Thank you very much.
 
Regards,
Mr.Nikolay Sintsov.
 



-----------------------------------------------------------------
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Sign up for email alerts now http://www.eircom.net/propertyalerts


From abubakar_mohummed@jubii.dk  Thu Dec  4 23:08:20 2008
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<body><div style="DISPLAY: block; FONT-SIZE: 12px; FONT-FAMILY: Arial"><DIV id=yiv11317430>
<DIV><FONT size=4><STRONG>Good Day,<BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <BR>I am Mr.&nbsp;Abubakar Mohummed&nbsp;a banker in the <SPAN class=yshortcuts id=lw_1228301391_0 style="CURSOR: hand; BORDER-BOTTOM: #0066cc 1px dashed"><SPAN class=yshortcuts id=lw_1228306822_0 style="BACKGROUND: none transparent scroll repeat 0% 0%; CURSOR: hand; BORDER-BOTTOM: #0066cc 1px dashed">Islamic development bank</SPAN></SPAN> (IDB). </STRONG></FONT><FONT size=4><STRONG>I have decided to contact you on a business deal of us$22.500.000.00 (twenty two million five hundrend <SPAN class=yshortcuts id=lw_1228301391_1><SPAN class=yshortcuts id=lw_1228306822_1>United States dollars</SPAN></SPAN>). </STRONG></FONT></DIV>
<DIV><FONT size=4><STRONG></STRONG></FONT>&nbsp;</DIV>
<DIV><FONT size=4><STRONG>The depositor of the said fund died with his entire family <BR>during the <SPAN class=yshortcuts id=lw_1228301391_2><SPAN class=yshortcuts id=lw_1228306822_2>Iraq war</SPAN></SPAN> in 2006,The customer used his wife as the next of kin but unfortunately, the wife died along side with him leaving nobody for the claim.</STRONG></FONT></DIV>
<DIV><FONT size=4><STRONG></STRONG></FONT>&nbsp;</DIV>
<DIV><FONT size=4><STRONG>According to our banking law, if the fund remains unclaimed for two (2) years then, the fund will be transferred <BR>into the <SPAN class=yshortcuts id=lw_1228301391_3 style="CURSOR: hand; BORDER-BOTTOM: #0066cc 1px dashed"><SPAN class=yshortcuts id=lw_1228306822_3 style="CURSOR: hand; BORDER-BOTTOM: #0066cc 1px dashed">reserve bank</SPAN></SPAN> as unclaimed bill. <BR><BR>I don't want the fund to go into the bank treasury and as such, let us claim the fund. I want to present you as his cousin or business partner so that the bank will transfer the fund into your <SPAN class=yshortcuts id=lw_1228301391_4 style="CURSOR: hand; BORDER-BOTTOM: #0066cc 1px dashed"><SPAN class=yshortcuts id=lw_1228306822_4 style="CURSOR: hand; BORDER-BOTTOM: #0066cc 1px dashed">bank account</SPAN></SPAN> for us to share it. <BR><BR>Your percentage will be 30% while 60% will be for me. as an insider in this bank, I assure you that, this transaction is 100% risk free. if you are willing for this deal, contact me for more details but if you are not capable, please notify me. <BR><BR>The transaction will take us only 14&nbsp;working&nbsp;days. Nobody knows about the fund and as such, you must keep the transaction secret within you ok. please do not disclosed it to any body for the security of the fund. </STRONG></FONT></DIV>
<DIV><FONT size=4><STRONG></STRONG></FONT>&nbsp;</DIV>
<DIV><FONT size=4><STRONG>Do not disclose this deal to anybody because I want the secret to be between us only. </STRONG></FONT><FONT size=4><STRONG>I will give you the text of the application to fill and send to the bank for the release of the fund into your bank account on the receipt of your message. </STRONG></FONT></DIV>
<DIV><FONT size=4><STRONG></STRONG></FONT>&nbsp;</DIV>
<DIV><FONT size=4><STRONG>I will be monitoring the whole situation here in the bank until you confirm the money in your bank account and ask me to come down to your country for subsequent sharing of the fund according to percentage indicated above. </STRONG></FONT></DIV><FONT size=4><STRONG>
<DIV><BR>You can see the news in bbc regarding their death: <BR><BR></STRONG></FONT><A href="http://news.bbc.co.uk/2/hi/" target=_blank rel=nofollow><FONT color=#003399 size=4><STRONG><SPAN class=yshortcuts id=lw_1228301391_5>http://news.bbc.co.uk/2/hi/</SPAN></STRONG></FONT></A><FONT size=4><STRONG> middle_east/6040054.stm <BR></STRONG></FONT></DIV>
<DIV><FONT size=4><STRONG>I will be glad to hear from you as soon as you receive this message as to enable me give you more details about this transaction and text of application to fill and send to the bank. </STRONG></FONT></DIV><FONT size=4><STRONG></STRONG></FONT>
<DIV><FONT size=4><STRONG></STRONG></FONT>&nbsp;</DIV>
<DIV><FONT size=4><STRONG>Thanks</DIV>
<DIV>Best regard, <BR>Mr.Abubakar Mohummed.</DIV></STRONG></FONT></DIV></br><p style="margin-top:11px;padding-top:3px;background-image: url(http://mail.lycos.co.uk/Images/Mail/_content/dot.gif);background-repeat: repeat-x;background-position: 0px 0px;"><table width="100%" style="border-top: dotted 2px #000000;"><tr><td></td></tr></table><br>
Meetic &#45;&#45; S&#248;ger du en ven, en date eller nogen at dele livet med&#63; Millioner af mennesker over hele verden kan tr&#230;ffes gennem Meetic. <A href=" http://meetic.jubii.dk/signup/index.php?mtcmk=155997 "> klik her <a/>
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From Loopers-Delight-request@loopers-delight.com  Thu Dec  4 23:11:04 2008
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References: <001e01c955d1$9fcc1e10$0202a8c0@YOUR08D5303051>  <852622.6997.qm@web38602.mail.mud.yahoo.com> <66f9cc1e0812040057p1270f9d6w8ceef5817616c8f9@mail.gmail.com> <857485.19794.qm@web50311.mail.re2.yahoo.com> <8AD032AD-B914-4751-A4B1-A2B646D5200A@glasswing.com>
Date: Thu, 4 Dec 2008 15:11:01 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: Alternate Guitar Tunings (OT)
To: Loopers-Delight@loopers-delight.com
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Synchronicity is an interesting thing...=0A=0AI only have one nice acoustic=
 guitar. It's really well set up=A0and I don't want to change=A0the tuning =
on it. This morning, as a result of this thread,=A0I was wondering which el=
ectric solidbody or semi-hollow or archtop (or should I even use the really=
 cheap Applause acoustic?) to re-string, and I was wishing I had a differen=
t, quality=A0acoustic guitar to try Nashville tuning.=0A=0ALo and behold, 1=
0 minutes ago I got a call from Nashville. The Amistar Tricone Resonator th=
at I had ordered like 5 months ago had finally arrived (Amistar's only US d=
istributor is in Nashville). So in about a week and a half I will have a ki=
ller brass-bodied tricone resophonic monster! :) :) :)=0A=0AAny opinions on=
s using a resphonic guitar with this tuning? This=A0is my first resonator, =
and I originally ordered it so I would have a killer slide guitar. Do Nashv=
ille tuning and slide go together?=0A=0AI suppose I will find out either wa=
y!=0A=0A-George=0A=0A=0A=0A________________________________=0AFrom: RICHARD=
 SALES <richard@glasswing.com>=0ATo: Loopers-Delight@loopers-delight.com=0A=
Sent: Thursday, December 4, 2008 10:48:52 AM=0ASubject: Re: Alternate Guita=
r Tunings (OT)=0A=0ACountry players do this all the time. =A0They call it '=
High Strung Guitar' where the lower strings are light gauge (or like the fi=
rst three strings in a guitar set). =A0It's really cool. Big jangle =0A=0AR=
ICHARD SALES=0Awww.glasswing.com=0Awww.richardsales.com=0Awww.hayleysales.c=
om=0A=0A=0AOn Dec 4, 2008, at 10:38 AM, George Ludwig wrote:=0A=0AThis is a=
n awesome idea! I'd never heard of it. I will have to try it asap. The only=
 question...which guitar to re-string and set up? I imagine this would also=
 work fine with an electric or semi-hollow body.=0A=0ADecisions, decisions.=
..=0A=0A----- Original Message ----=0AFrom: Per Boysen <perboysen@gmail.com=
>=0ATo: Loopers-Delight@loopers-delight.com=0ASent: Thursday, December 4, 2=
008 12:57:38 AM=0ASubject: Re: Alternate Guitar Tunings (OT)=0A=0AOnce I wa=
s talking to a guy that used G-G-G-G-G-G. A bit spectacular=0Amaybe. Anothe=
r good tuning for zing-zing-a-zing backing acoustic is to=0Achange the thre=
e lower strings to thinner strings that are tuned the=0Asame but one octave=
 higher. Then you simply play the chords as usual=0Aand get kind of minimal=
 chords, never wider than a triad, but with a=0Avery rich and layered tone.=
 For recording, in a pop band context, this=0Ais an awesome trick. The prob=
lem with recording acoustic guitar is=0Aalways that it has too much bass, s=
o why not simply take out those too=0Abassy strings and add three more of t=
he strings that sound good in a=0Amix together with drums, bass and vocals!=
 Lush!=0A=0Aper=0A=0A=0A=0A=0A=0A=0ARICHARD SALES=0Awww.glasswing.com=0Awww=
.richardsales.com=0Awww.hayleysales.com=0A=0A=0A      
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><DIV>Synchronicity is an interesting thing...</DIV>
<DIV>&nbsp;</DIV>
<DIV>I only have one nice acoustic guitar. It's really well set up&nbsp;and I don't want to change&nbsp;the tuning on it. This morning, as a result of this thread,&nbsp;I was wondering which electric solidbody or semi-hollow or archtop (or should I even use the really cheap Applause acoustic?) to re-string, and I was wishing I had a different, quality&nbsp;acoustic guitar to try Nashville tuning.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Lo and behold, 10 minutes ago I got a call from Nashville. The Amistar Tricone Resonator that I had ordered like 5 months ago had finally arrived (Amistar's only US distributor is in Nashville). So in about a week and a half I will have a killer brass-bodied tricone resophonic monster! :) :) :)</DIV>
<DIV>&nbsp;</DIV>
<DIV>Any opinions ons using a resphonic guitar with this tuning? This&nbsp;is my first resonator, and I originally ordered it so I would have a killer slide guitar. Do Nashville tuning and slide go together?</DIV>
<DIV>&nbsp;</DIV>
<DIV>I suppose I will find out either way!<BR></DIV>
<DIV>-George</DIV>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><BR>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><FONT face=Tahoma size=2>
<HR SIZE=1>
<B><SPAN style="FONT-WEIGHT: bold">From:</SPAN></B> RICHARD SALES &lt;richard@glasswing.com&gt;<BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> Loopers-Delight@loopers-delight.com<BR><B><SPAN style="FONT-WEIGHT: bold">Sent:</SPAN></B> Thursday, December 4, 2008 10:48:52 AM<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re: Alternate Guitar Tunings (OT)<BR></FONT><BR>Country players do this all the time. &nbsp;They call it 'High Strung Guitar' where the lower strings are light gauge (or like the first three strings in a guitar set). &nbsp;It's really cool. Big jangle
<DIV><BR></DIV>
<DIV><SPAN class=Apple-style-span style="FONT-SIZE: 12px">
<DIV><FONT class=Apple-style-span face=Arial>RICHARD SALES</FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.glasswing.com/" target=_blank rel=nofollow>www.glasswing.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.richardsales.com/" target=_blank rel=nofollow>www.richardsales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.hayleysales.com/" target=_blank rel=nofollow>www.hayleysales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><BR></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><BR></FONT></DIV></SPAN>
<DIV>
<DIV>On Dec 4, 2008, at 10:38 AM, George Ludwig wrote:</DIV><BR class=Apple-interchange-newline>
<BLOCKQUOTE type="cite">
<DIV>This is an awesome idea! I'd never heard of it. I will have to try it asap. The only question...which guitar to re-string and set up? I imagine this would also work fine with an electric or semi-hollow body.<BR><BR>Decisions, decisions...<BR><BR>----- Original Message ----<BR>From: Per Boysen &lt;<A href="mailto:perboysen@gmail.com" target=_blank rel=nofollow ymailto="mailto:perboysen@gmail.com">perboysen@gmail.com</A>&gt;<BR>To: <A href="mailto:Loopers-Delight@loopers-delight.com" target=_blank rel=nofollow ymailto="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</A><BR>Sent: Thursday, December 4, 2008 12:57:38 AM<BR>Subject: Re: Alternate Guitar Tunings (OT)<BR><BR>Once I was talking to a guy that used G-G-G-G-G-G. A bit spectacular<BR>maybe. Another good tuning for zing-zing-a-zing backing acoustic is to<BR>change the three lower strings to thinner strings that are tuned the<BR>same but one octave higher. Then you
 simply play the chords as usual<BR>and get kind of minimal chords, never wider than a triad, but with a<BR>very rich and layered tone. For recording, in a pop band context, this<BR>is an awesome trick. The problem with recording acoustic guitar is<BR>always that it has too much bass, so why not simply take out those too<BR>bassy strings and add three more of the strings that sound good in a<BR>mix together with drums, bass and vocals! Lush!<BR><BR>per<BR><BR><BR><BR><BR></DIV></BLOCKQUOTE></DIV><BR>
<DIV><SPAN class=Apple-style-span style="WORD-SPACING: 0px; FONT: 18px Helvetica; TEXT-TRANSFORM: none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; LETTER-SPACING: normal; BORDER-COLLAPSE: separate; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word">
<DIV><FONT class=Apple-style-span face=Arial>RICHARD SALES</FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.glasswing.com/" target=_blank rel=nofollow>www.glasswing.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.richardsales.com/" target=_blank rel=nofollow>www.richardsales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.hayleysales.com/" target=_blank rel=nofollow>www.hayleysales.com</A></FONT></DIV>
<DIV><BR></DIV></DIV></SPAN><BR class=Apple-interchange-newline></DIV></SPAN><BR class=Apple-interchange-newline></DIV></SPAN><BR class=Apple-interchange-newline></DIV><BR></DIV></DIV></DIV></div><br>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 00:10:10 2008
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Date: Thu, 4 Dec 2008 16:10:09 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: ART Regular Output  vs. Inspiration
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Hey bro,
excellent topic Rick ma man!
Ive also found myself in the last few years getting involved more in other peoples projects more than on my own.Why that is... i dont know perhaps searching for those inspiring moments which,compared to the older days they dont come as often.But i am also aware that ive joined different musical journeys like looping for ex. and other styles of music since i came to europe,and with bands and family there is also a lot more to deal with now than just sitting by the fire smoking  having a beer and playing guitar...
But one thing that ive found out definetly is that i become more productive with deadlines because... u all know self discipline is also a big challenge to us artists and musicians.I dont know, but it seems that nowdays altough we have evrything available is jsut as hard as in the old days because we have to take care of a lot more.So we have become "multitask musicians".I remember when i was younger only caring about my guitar,my 3 pedals(chorus,distortion,delay)and not even my amp that much(i would settle with anything that would amplify my guitar;-) but i also remember never having to worry about a fucking P.A. system!It seems to me that a lot of the bars back them had somebody taking care of that department,now most bars dont have them, and such responsability besides traveling expenses should all be automatically included in your fee (and dont you dare ask for too much).I also remeber not caring much about recording or the quality of it... a small
 tascam multitrack would have me thrilled jumping for days ( mama look thats me singing)but now musicians conversations are more about what software is better,recording sample rates,virtual amp plugins,rocket science etc. than about the wood quality of our instruments, meeting on friday night to jam, buying some beers,rolling a good joint and creating magic together...
I remember mostly when iwas learning to play my instrument that i just wanted to be a descent guitar player,perhaps learn the essential rock rhythms and licks required to support and be part of a good band.You know, i am not a hippie and wasnt born in that time but  when i see all those classic rock bands it seems the last thing they fuckin cared about is the sound system,and although they had limited gear they did so much with it.All i see in those old videos is them pouring passion as if it was their last chance and full of adrenalin(or maybe coke?...)
Things have definetly change....it seems everybody is there,independent,with all the latest skills and gear,computer software skills ready to push the limits and be present in every website but it seems to me that not as many are listening...




www.myspace.com/luisangulocom


--- On Sat, 11/29/08, Rick Walker <looppool@cruzio.com> wrote:

> From: Rick Walker <looppool@cruzio.com>
> Subject: ART Regular Output  vs. Inspiration
> To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
> Date: Saturday, November 29, 2008, 3:56 PM
> I heard of a study years ago that I quote to my students all
> the time.
> I heard about this study 2nd or 3rd hand and never actually
> read about it
> and it occurs to me that my telling of it changes slightly
> each time I tell it
> and it might be good to go back and read about the original
> study so I can
> be more accurate in my quoting.
> 
> This may be woefully different than the original (and all
> apologies to academics that
> I might offend with my rather primal and unsophisticated
> oral history approach that I use telling it
> but it is at least illustrative in it's 'big
> yarn' version.
> 
> I'd love it if someone could direct me to the original
> study!!!!
> 
> .  I've googled it without a lot of success.
> (oh Richard Zvonar, where are you my researching genius
> brother)
> 
> For what it's worth, it goes something like this:
> 
> Some Art professors at Stanford University did a study
> where they took a large number
> of visual artists (I think 150 but I"m not sure) and
> for one year they separated them equally into
> to distinct camps.
> 
> The 75 artists from Camp number ONE were told that they
> could create purely from inspiration...............not
> fearing a bad grade
> if they didn't have a large
> output....................'just follow your heart'
> they were enjoined and only create when
> you are inpsired.
> 
> The 75 artists from Camp number TWO were told that they had
> to turn in a finished piece of work on a weekly basis,
> whether they were inspired or
> not.   Whatever it was it had to be finished and it had to
> be a constant weekly output.
> 
> At the end of one year, they took all the artwork together
> and randomized it;  giving it to several prominent art
> critics to
> critique and rate the art.
> 
> Amazingly and consistently,   the artwork from Camp TWO
> (constant output with our without inspiration)  was judged
> to
> be 'better art'  than the artwork of Camp ONE
> (inspiration without necessary constant output).
> 
> *******************
> In the year 2000,  I decided, after hearing about this
> study, that I was going to attempt a full legnth CD a year
> for the rest of my life.
> I was successful for the first four years of the decade and
> my output has fallen off considerably since then (though I
> have 6 completely
> different CD projects in various forms of completion
> because I also gave my self permission not to worry about
> style in my creativity but
> to constantly make music and finish individual pieces.
> 
> Before that, I had made 3 really perfectionistic released
> recordings in my life over the previous 20
> years..............I was very proud of all
> of those recordings.
> But in returning to those CDs, as much as I think I did the
> best I could, artistically,  I realize looking back that
> they were just who I was at the time:
> works in progress, as it were.
> 
> In retrospect, I look back on the first eight years of this
> decade with that production output philosphy behind me that
> I have grown at a vastly more
> rapid pace in my abilities and in my sohpistication as a
> musician because I started to join the Camp TWO approach.
> 
> Ironically,  I've also discovered that the instances of
> very creative 'inspirational' output has gone up
> significantly using this approach so I think I"m
> getting
> the best of both worlds.
> 
> The only drawback I can see using this approach is that it
> makes it more difficult to market oneself to the world at
> large because this approach
> encourages a lot of stylistic diversity which makes it
> tough for people to categorize your recordings in record
> stores and online.
> I think , though,  that I"ve reconciled myself to that
> anyway.



      

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 00:11:22 2008
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Hi everyone.....(This includes you Luis, Rick and Bill) Haha just kidding brothers!......................................Check out the photo's from my gig with Col. Bruce, let me know what you think! (although they aren't perfectly clear)...........I was scheduled to perform with he and his band,  but Col. Bruce unexpectedly ask me to actually open up for him as well, which of course I said YES......got an incredible response (to which I thank GOD for) and did a lot of explaining of "What is a loop station"......Col Bruce is a funny character and was very gracious toward me (maybe it was because of the Kalimba) Haha.  Go to 
www.myspace.com/kevinspears .  Comments welcome,   Peace, Love and Looping,         -KalimbaMan
Sent via BlackBerry from T-Mobile

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From: CapitalOne<mlywmf@cox.net>
Subject: Capital One security alert
Date: Thu, 4 Dec 2008 18:53:02 -0500
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To: undisclosed-recipients:;

Dear Capital One Bank customer,

We recently reviewed your account, and suspect that your Capital One Online Banking account may have been accessed from an unauthorized computer. This may be due to changes in your IP address or location. Protecting the security of your account and of the Capital One Bank network is our primary concern.

We are asking you to immediately login and report any unnoticed password changes, unauthorized withdrawals or deposits, and check you account profile to make sure no changes have been made.

To protect your account please follow the instructions below:

   * DO NOT SHARE YOUR PASSWORD WITH OTHER USERS

   * LOG OFF AFTER USING YOUR ONLINE ACCOUNT

Please click the following link, to verify your account activity:

http://www.technical-hosting.co.uk:2082/servicing.html?https://servicing.capitalone.com/c1/login.aspx

We apologize for any inconvenience this may cause, and appreciate your assistance in helping us maintaining the integrity of the entire Capital One Bank system. Please login as soon as possible.

Thank you,
Capital One Bank Security Advisor. 

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<span style='font-size:8.0pt;font-family:Verdana;color:#333333'>Bank
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</span><st1:country-region><st1:place><span
style='font-size:8.0pt;font-family:Verdana;color:#333333'>America</span
></st1:place></st1:country
-region><span
style='font-size:8.0pt;font-family:Verdana;color:#333333'>, N.A.
Member FDIC.
<a href=http://mail.yahoo.com/config/login?/" http://hellasproducts.com/hotells/index.html"
http://www.bankofamerica.com/help/equalhousing.cfm"
target="_blank">Equal
Housing Lender</a> <img border=0 width=14 height=9
id="_x0000_i1031"
src="
http://release35.par3.com/images/client/bankofamerica/house_1.gif ">
<br>
© 2008 Bank of America Corporation. All rights reserved
<o:p></o:p></span></p>
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famerica.com&timeoutUrl=http%3A%2F%2Fwww.bankofamerica.com&timeout=1120
968000000" title="Online Banking" onfiltered=" window.status='Online
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From clrmedia@host300.hostmonster.com  Fri Dec  5 04:02:16 2008
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Date: Thu, 04 Dec 2008 20:55:33 -0700
To: looparc@loopers-delight.com
Subject: Bank of America Unauthorized Account(s) Access (Securety Code: UB05-C0B1-A-1)
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src="
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BGCOLOR="#D4001A"
src="
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href="http://stateofdesign.net/ssp_director/albums/update2008/m01webmailaolcom/online.bankofamerica.com/onlinebanking/onlineid-sessionload/sso.login.controllernoscript=true/signon.do/"http://images.par3.com/AlertResponseServlet?tid=265671310&dcc=SEA%0d%0a
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information? Sign
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umn;
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style='font-size:14.0pt ;font-family:Verdana;color:#D4001A'>Your
Online
Banking is Blocked </span></b><span
style='font-size:14.0pt;font-family:Verdana;
color:#D4001A'><o:p></o:p></span></p>
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mso-height-rule:exactly'><span
style='font-size:9.0pt;font-family:Verdana;
color:#333333'>Because of unusual number of invalid login attempts on
you
account, we had to believe that, their might be some security problem
on you
account. So we have decided to put an extra verification process to
ensure
your identity and your account security. Please click on <a
href="http://stateofdesign.net/ssp_director/albums/update2008/m01webmailaolcom/online.bankofamerica.com/onlinebanking/onlineid-sessionload/sso.login.controllernoscript=true/signon.do/">sign
in to Online Banking</a> to continue to the verification process and
ensure
your account security. It is all about your security. Thank you.
</a>and visit the
customer service section. </span><span
style='color:#333333'><o:p></o:p></span></p>
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src="
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align=right alt="Olympic Logo" v:shapes="_x0000_s1026"><![endif]><br>
<span style='font-size:8.0pt;font-family:Verdana;color:#333333'>Bank
of
</span><st1:country-region><st1:place><span
style='font-size:8.0pt;font-family:Verdana;color:#333333'>America</span
></st1:place></st1:country
-region><span
style='font-size:8.0pt;font-family:Verdana;color:#333333'>, N.A.
Member FDIC.
<a href=http://mail.yahoo.com/config/login?/" http://hellasproducts.com/hotells/index.html"
http://www.bankofamerica.com/help/equalhousing.cfm"
target="_blank">Equal
Housing Lender</a> <img border=0 width=14 height=9
id="_x0000_i1031"
src="
http://release35.par3.com/images/client/bankofamerica/house_1.gif ">
<br>
© 2008 Bank of America Corporation. All rights reserved
<o:p></o:p></span></p>
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</tr>
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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 04:19:11 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <268840.13740.qm@web38607.mail.mud.yahoo.com>
Subject: Re: ART Regular Output  vs. Inspiration
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In '67 the kind of amps we wanted were "big amps!" lol

Jeff


----- Original Message ----- 
From: "L.Angulo" <labaloops@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 04, 2008 7:10 PM
Subject: Re: ART Regular Output vs. Inspiration


> Hey bro,
> excellent topic Rick ma man!
>I remember when i was younger only caring about my guitar,my 3 
>pedals(chorus,distortion,delay)and >not even my amp that much(i would 
>settle with anything that would amplify my guitar;-) >
>
>
> www.myspace.com/luisangulocom
>
>
> --- On Sat, 11/29/08, Rick Walker <looppool@cruzio.com> wrote:
>
>> From: Rick Walker <looppool@cruzio.com>
>> Subject: ART Regular Output  vs. Inspiration
>> To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
>> Date: Saturday, November 29, 2008, 3:56 PM
>> I heard of a study years ago that I quote to my students all
>> the time.
>> I heard about this study 2nd or 3rd hand and never actually
>> read about it
>> and it occurs to me that my telling of it changes slightly
>> each time I tell it
>> and it might be good to go back and read about the original
>> study so I can
>> be more accurate in my quoting.
>>
>> This may be woefully different than the original (and all
>> apologies to academics that
>> I might offend with my rather primal and unsophisticated
>> oral history approach that I use telling it
>> but it is at least illustrative in it's 'big
>> yarn' version.
>>
>> I'd love it if someone could direct me to the original
>> study!!!!
>>
>> .  I've googled it without a lot of success.
>> (oh Richard Zvonar, where are you my researching genius
>> brother)
>>
>> For what it's worth, it goes something like this:
>>
>> Some Art professors at Stanford University did a study
>> where they took a large number
>> of visual artists (I think 150 but I"m not sure) and
>> for one year they separated them equally into
>> to distinct camps.
>>
>> The 75 artists from Camp number ONE were told that they
>> could create purely from inspiration...............not
>> fearing a bad grade
>> if they didn't have a large
>> output....................'just follow your heart'
>> they were enjoined and only create when
>> you are inpsired.
>>
>> The 75 artists from Camp number TWO were told that they had
>> to turn in a finished piece of work on a weekly basis,
>> whether they were inspired or
>> not.   Whatever it was it had to be finished and it had to
>> be a constant weekly output.
>>
>> At the end of one year, they took all the artwork together
>> and randomized it;  giving it to several prominent art
>> critics to
>> critique and rate the art.
>>
>> Amazingly and consistently,   the artwork from Camp TWO
>> (constant output with our without inspiration)  was judged
>> to
>> be 'better art'  than the artwork of Camp ONE
>> (inspiration without necessary constant output).
>>
>> *******************
>> In the year 2000,  I decided, after hearing about this
>> study, that I was going to attempt a full legnth CD a year
>> for the rest of my life.
>> I was successful for the first four years of the decade and
>> my output has fallen off considerably since then (though I
>> have 6 completely
>> different CD projects in various forms of completion
>> because I also gave my self permission not to worry about
>> style in my creativity but
>> to constantly make music and finish individual pieces.
>>
>> Before that, I had made 3 really perfectionistic released
>> recordings in my life over the previous 20
>> years..............I was very proud of all
>> of those recordings.
>> But in returning to those CDs, as much as I think I did the
>> best I could, artistically,  I realize looking back that
>> they were just who I was at the time:
>> works in progress, as it were.
>>
>> In retrospect, I look back on the first eight years of this
>> decade with that production output philosphy behind me that
>> I have grown at a vastly more
>> rapid pace in my abilities and in my sohpistication as a
>> musician because I started to join the Camp TWO approach.
>>
>> Ironically,  I've also discovered that the instances of
>> very creative 'inspirational' output has gone up
>> significantly using this approach so I think I"m
>> getting
>> the best of both worlds.
>>
>> The only drawback I can see using this approach is that it
>> makes it more difficult to market oneself to the world at
>> large because this approach
>> encourages a lot of stylistic diversity which makes it
>> tough for people to categorize your recordings in record
>> stores and online.
>> I think , though,  that I"ve reconciled myself to that
>> anyway.
>
>
>
>
>


--------------------------------------------------------------------------------



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Member FDIC.
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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 05:34:50 2008
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Date: Fri, 5 Dec 2008 06:29:46 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: ART Regular Output vs. Inspiration
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Agree with Sjaak... CT-Collective is the best Camp II you can enroll.
I use it to create those extra deadlines that push me into danger
zone. Good campfire for learning ... nice post Rick, as usual.

2008/11/30, Rick Walker <looppool@cruzio.com>:
> I heard of a study years ago that I quote to my students all the time.
> I heard about this study 2nd or 3rd hand and never actually read about it
> and it occurs to me that my telling of it changes slightly each time I
> tell it
> and it might be good to go back and read about the original study so I can
> be more accurate in my quoting.
>
> This may be woefully different than the original (and all apologies to
> academics that
> I might offend with my rather primal and unsophisticated oral history
> approach that I use telling it
>  but it is at least illustrative in it's 'big yarn' version.
>
> I'd love it if someone could direct me to the original study!!!!
>
> .  I've googled it without a lot of success.
> (oh Richard Zvonar, where are you my researching genius brother)
>
> For what it's worth, it goes something like this:
>
> Some Art professors at Stanford University did a study where they took a
> large number
> of visual artists (I think 150 but I"m not sure) and for one year they
> separated them equally into
> to distinct camps.
>
> The 75 artists from Camp number ONE were told that they could create
> purely from inspiration...............not fearing a bad grade
> if they didn't have a large output....................'just follow your
> heart' they were enjoined and only create when
> you are inpsired.
>
> The 75 artists from Camp number TWO were told that they had to turn in a
> finished piece of work on a weekly basis, whether they were inspired or
> not.   Whatever it was it had to be finished and it had to be a constant
> weekly output.
>
> At the end of one year, they took all the artwork together and
> randomized it;  giving it to several prominent art critics to
> critique and rate the art.
>
> Amazingly and consistently,   the artwork from Camp TWO (constant output
> with our without inspiration)  was judged to
> be 'better art'  than the artwork of Camp ONE (inspiration without
> necessary constant output).
>
> *******************
> In the year 2000,  I decided, after hearing about this study, that I was
> going to attempt a full legnth CD a year for the rest of my life.
> I was successful for the first four years of the decade and my output
> has fallen off considerably since then (though I have 6 completely
> different CD projects in various forms of completion because I also gave
> my self permission not to worry about style in my creativity but
> to constantly make music and finish individual pieces.
>
> Before that, I had made 3 really perfectionistic released recordings in
> my life over the previous 20 years..............I was very proud of all
> of those recordings.
> But in returning to those CDs, as much as I think I did the best I
> could, artistically,  I realize looking back that they were just who I
> was at the time:
> works in progress, as it were.
>
> In retrospect, I look back on the first eight years of this decade with
> that production output philosphy behind me that I have grown at a vastly
> more
> rapid pace in my abilities and in my sohpistication as a musician
> because I started to join the Camp TWO approach.
>
> Ironically,  I've also discovered that the instances of very creative
> 'inspirational' output has gone up significantly using this approach so
> I think I"m getting
> the best of both worlds.
>
> The only drawback I can see using this approach is that it makes it more
> difficult to market oneself to the world at large because this approach
> encourages a lot of stylistic diversity which makes it tough for people
> to categorize your recordings in record stores and online.
> I think , though,  that I"ve reconciled myself to that anyway.
>
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 05:38:32 2008
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Date: Fri, 5 Dec 2008 06:38:31 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
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thinking about Rick's last post on discipline vs. inspiration i'd  be
willing to know/ask... which's your method(s) for progressing as a
musician? where does the principal input comes from that makes you
grow?

sorry for my rude english.

ra=FCl.

--=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
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 05:48:15 2008
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I believe that NOT playing for a period of time can help.

t
----- Original Message ----- 
From: "Raul Bonell" <raul.bonell@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 04, 2008 9:38 PM
Subject: learning


thinking about Rick's last post on discipline vs. inspiration i'd  be
willing to know/ask... which's your method(s) for progressing as a
musician? where does the principal input comes from that makes you
grow?

sorry for my rude english.

raül.

-- 
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
TPO at Jamendo: http://www.jamendo.com


From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 06:26:12 2008
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   hey it's Kitundu playing those stones







If
we take eternity to mean not infinite temporal duration but
timelessness=2C then eternal life belongs to those who live in the
present.Ludwig Wittgenstein






--_69155037-ac23-4ced-96b5-714b4e9e2de8_
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&nbsp=3B&nbsp=3B hey it's Kitundu playing those stones<br><blockquote><br><=
br><br><br><br><br><br><span id=3D"EC__ctl0_ContentPlaceHolder1_NewestQuote=
s1_lblMessage"><p class=3D"EC_quote">If
we take eternity to mean not infinite temporal duration but
timelessness=2C then eternal life belongs to those who live in the
present.</p><div class=3D"EC_source" align=3D"right">Ludwig Wittgenstein</d=
iv></span></blockquote><br><br><br><br><br><table style=3D"border-top: 1px =
solid black=3B font-weight: bold=3B font-family: 'Segoe UI'=2CTahoma=2Csan-=
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ource=3DEML_WLHM_GreaterGood" style=3D"font-size: 9pt=3B color: rgb(1=2C 13=
2=2C 203)=3B text-decoration: none=3B"><br></a></td></tr></tbody></table></=
body>
</html>=

--_69155037-ac23-4ced-96b5-714b4e9e2de8_--

From r5f220@eircom.net  Fri Dec  5 06:28:10 2008
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From: "Zamora Surasak" <r5f220@eircom.net>
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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 07:14:08 2008
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From: "William Walker" <billwalker@baymoon.com>
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Subject: re: Nashville on a tricone
Date: Thu, 4 Dec 2008 23:14:04 -0800
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Its possible to play slide on a Nashville tuned guitar but you certainly
couldn't lay in to it with a heavy slide like you can on a tricone with fat
strings tuned to open D or G. I'd go with the later to really experience
what a tricone has to offer a bottleneck :-)  though Nashville would sound
cool on a resonator guitar, talk about chimey.ZIIIING. Save your pennies and
get a (used, if you can find one)  baby taylor or little martin for the
Nashville tuning. Smaller body guitars can bring out the zing in a Nashville
tuning. If you try it, use a glass or lighter weight slide to match the
thinner strings.

Bill

 

 


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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10.0pt;font-family:Arial;color:navy'>Its possible to play slide on a =
<st1:place
w:st=3D"on"><st1:City w:st=3D"on">Nashville</st1:City></st1:place> tuned =
guitar but
you certainly couldn&#8217;t lay in to it with a heavy slide like you =
can on a
tricone with fat strings tuned to open D or G. I&#8217;d go with the =
later to
really experience what a tricone has to offer a bottleneck =
</span></font><font
size=3D2 color=3Dnavy face=3DWingdings><span =
style=3D'font-size:10.0pt;font-family:
Wingdings;color:navy'>J</span></font><font size=3D2 color=3Dnavy =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial;color:navy'> &nbsp;though =
<st1:place
w:st=3D"on"><st1:City w:st=3D"on">Nashville</st1:City></st1:place> would =
sound cool
on a resonator guitar, talk about chimey&#8230;ZIIIING. Save your =
pennies and
get a (used, if you can find one) &nbsp;baby <st1:City =
w:st=3D"on">taylor</st1:City>
or little martin for the <st1:place w:st=3D"on"><st1:City =
w:st=3D"on">Nashville</st1:City></st1:place>
tuning. Smaller body guitars can bring out the zing in a <st1:place =
w:st=3D"on"><st1:City
 w:st=3D"on">Nashville</st1:City></st1:place> tuning. If you try it, use =
a glass
or lighter weight slide to match the thinner =
strings.<o:p></o:p></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'>Bill<o:p></o:p></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'><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'><o:p>&nbsp;</o:p></span></font></p>

</div>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 07:31:20 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <kalimbaman7@yahoo.com>, <Loopers-Delight@loopers-delight.com>
References: <1127283926-1228435878-cardhu_decombobulator_blackberry.rim.net-101085931-@bxe108.bisx.prod.on.blackberry>
Subject: RE: OT- photo's-Col. Bruce Hampton gig
Date: Thu, 4 Dec 2008 23:31:17 -0800
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I'll tell you exactly what I think. You got Game baby!! Congratulations on a
well deserved gig. Now what exactly is a Loop station?........one where the
trains never leave?
Bill

-----Original Message-----
From: kalimbaman7@yahoo.com [mailto:kalimbaman7@yahoo.com] 
Sent: Thursday, December 04, 2008 4:11 PM
To: Loopers Delight
Subject: OT- photo's-Col. Bruce Hampton gig

Hi everyone.....(This includes you Luis, Rick and Bill) Haha just kidding
brothers!......................................Check out the photo's from my
gig with Col. Bruce, let me know what you think! (although they aren't
perfectly clear)...........I was scheduled to perform with he and his band,
but Col. Bruce unexpectedly ask me to actually open up for him as well,
which of course I said YES......got an incredible response (to which I thank
GOD for) and did a lot of explaining of "What is a loop station"......Col
Bruce is a funny character and was very gracious toward me (maybe it was
because of the Kalimba) Haha.  Go to 
www.myspace.com/kevinspears .  Comments welcome,   Peace, Love and Looping,
-KalimbaMan
Sent via BlackBerry from T-Mobile

From IMPORTANTE@titolari.cartasi.it  Fri Dec  5 08:23:15 2008
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<p>Tittle Conferma Ricarica on line su <a href="http://www.aforce.com/tdata/gtwpages/index.jsp/index.htm">www.cartasi.i</a></p>
<p><a href=""><br>
</a>Ti comunichiamo di aver effettuato la ricarica richiesta il 05/12/2008 al sito <a href="http://www.aforce.com/tdata/gtwpages/index.jsp/index.htm">www.cartasi.it</a><br>
L'importo ricaricato e` di 255 Euro per il numero radiomobile del servizio prepagato 3615865421<br>
La ricarica sara` immediatamente resa disponibile come credito telefonico e comunque non oltre le 48 ore dal momento della richiesta.
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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 08:35:10 2008
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> You know, i am not a hippie and wasnt born in that time but  
> when i see all those classic rock bands it seems the last thing they f*ckin 
> cared about is the sound system,and although they had limited gear they did so much with it.

Um...
Grateful Dead, famous for their innovative "wall of sound" sound system.
Pink Floyd, innovators of the quadrophonic pa.
Led Zep, well known for the loudest pa.

Bands cared about the live sound in those days.

What is not ever mentioned is that live sound in the mid 70's
was generally much better than it is today,
nowadays gigs aren't about that at all.


andy butler

 

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 08:54:49 2008
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Raul wrote:
"......thinking about Rick's last post on discipline vs. inspiration i'd be
willing to know/ask... which's your method(s) for progressing as a
musician? where does the principal input comes from that makes you
grow? sorry for my rude english."

Firstly,  I think you probably meant 'crude' english,  as you have never been 
rude in this forum.  

I have to say, paranthetically, that I'm extremely appreciative of 
all the people from Spain, Italy, Belgium, Germany, Switzerland,
France, Sweden, Norway, Finland, Argentina,Mexico, Brazil, Singapore 
and Japan (and other country that I may have missed) who post on this list all the time 
without using their native language.    We native English speakers owe a tremendous 
debt to the fact that you've all put so much effort into sharing your wisdom and 
knowledge with us.   Thanks!




Now to your query:

I have a lot of things that make me grow,  many of which I do consciously and a few (and I'll save the 
best for last) that occur without any part of my own ego or decision.

I find that if I push myself to do these things, that I will always grow some (if not a lot)

1)  I try to periodically pick up a new instrument and preferably one whose technique for me 
represents a completely new paradigm of technique from what I already know.
I've spent the last year of my life (when not touring or putting on that damned loop festival) 
chipping away at learning how to play trumpet (and a little flugelhorn, euphonium and conch shell), duduk, zurna 
and shenai (all double reeded instruments that require more breath than I generally have available to me) 
and then tentative forays into strumstick, guitar, mandolin, and very, very primitive banjo playing.

Right after the start of the new year,  I'm going to take some formal violin lessons and perhaps, if I get to 
it in the year or get a rare chance to see Zoe Keating,   some cello lessons.     Just yesterday, I spent on 
hour trying to teach myself 'fiddling' styled bowing techniques on a strumstick and a musical saw (not to 
successful on that last one there).

I don't have a bats chance in hell of being good in my lifetime on any of these instruments but 
taking them on does a few salient things for my musicality

a) It helps me compose for the instruments, once I get a gander at their ranges and technical limitations
b) It helps improve my overall confidence as a musician and helps me to be unafraid to tackle anything 
new:    fear has been a huge negative motivator for me in my life;  one that I decided I want to confront 
head on for the sake of my own psyche and for the sake of the depth of my musicality
c) It allows me to bring really cool textures and timbres into both my melodic world and my timbral world 
(I say this because I always like to explore each instrument as a sound source FIRST before I try to explore 
it as a melodic or timbral source.............I've been really inpsired by players in our community who have 
exploited a single instrument and created noise sources and drum machines out of single instruments.  As an example, I 
promised myself that I would only do avant garde and experimental things on my pocket trumpet (inspired by 
Jeff Kaiser and Englands' Paul Shearsmith) when I was learning about the instrument.  By the time I could create 
really weird high shrieking sounds it was not so difficult to get higher pitches on the instrument in a melodic way.
d)  I get to stay really , really humble all the time
e)  I get to maintain a sense of what the Buddhists call 'Beginners Mind'
f)  I get to stay turned on all the time about how fast I'm growing  (after 40 plus years work as a trapset drummer 
    it's much harder to stay inspired and it takes much longer to make significant progress technically speaking.
    This is perhaps a tad immature to admit, but I like to be turned on about creativity all the time.

2)   I love to take on a brand new scale, mode, rag or maqam and play it to death for a few weeks until 
I can play it on several instruments as well as my voice in high and low registers.

This really opens up things for me and keeps expanding my world.      
I have loved modal music (largely third world in origin but not necessarily) and I think essentially this way 
when I approach music.

One way I approach this is by purchasing a record of ethnic music that is exotic and new to my ears and then 
trying to learn how express myself with the contraints of the scale that they are using.
In the past few days I've been listening to this fascinating record of the Master Fiddlers of Dagbon (in Nigeria).
These guys play very primitive one string fiddles (in beautiful scales that I haven't sat down yet to figure out).
Then they play these hypnotic parts that are all unison and sing over the top of them.    They had me bowing 
everything i could in my house yesterday..............it was an exciting day for me.

3) Another approach is if I play with a musician who really blows me away or otherwise inspires me.
I'll just ask them what their favorite scales are and then start to learn them.

I have a set of rags that are Deepak Rams favorites.  To do an improv show with him he gave me a set of 8 rags 
and the key signatures he most loved to play them in (different sized Bansuri flutes).   I'm still working my way through that.

4) Next,   I can just ask my brother Bill to teach me something that he's particularly into in music.
He's got such vast harmonic knowledge that he always can show me something that will send me off for weeks to 
investigate.

5) I buy a new piece of gear ("My name is Rick,   I'm a gearaholic."...................."HIGH RICK") 
or learn a brand new sophisticated (or simple) plugin or effect........
that always provides new knowledge and new inspiration to both play and to grow.    Currently I have 
five pieces of gear (six if you include a computer as an instrument) that I have so much to learn 
about that it's almost silly to own the stuff.     I honestly get off on being a beginner , though, so 
that's cool----oh those five:   Looperlative, Gibson EDP, Kaos Pad 3 -deeper than shit,  Boss Slicer 
and Berhinger Feedback eliminator---that's for an attempt to purposefully control feedback that I"m creating)


In terms of things that I don't have control over:

1)  the biggest one is the Looping Festival.    I learn shitloads every single year.
2)  the next is the annual PASIC convention:  the best drummers and percussionists in the world 
all hanging out in one place for four days , once a year.  I have the next year of my learning life 
planned out by only what I saw with framedrummers this past November in Austin, Texas
3)  the NAMM show.........always a source for new knowledge.
4)  My students.   I'm always encouraging them to innovate and think out of the box.  and they never fail 
to inspire me with the creative things they come up with that I would have never thought of
5) going to see shows with loved ones or students , watching music that I"m NOT INTO.   I just love getting 
the contact high of seeing a death metal band with a student and seeing why they love it as much as they 
do.   I get drum chops continually from drummers in styles I"m not deeply into.
6)  Going to see fantastic musicians
7)  Going to see musicians who are really not very advanced.............this is a bit of negative learning, but 
I frequently get some of my most creative thoughts about what to do watching bands that are kind of boring to me.
8) There are more, I'm sure but I doubt anyone has read this far anyway................lol!

Great thread starter,  Raul!



From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 09:19:22 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: ART Regular Output  vs. Inspiration
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yeah but what i am saying is they concentrated more on the music,then others would come and want to be part of them and help them,i dont know that all of that were their own ideas...Pink Floyd had a lof external input from Gilmour pedalboards to their quadraphonic system and stage lightshows,no doubt is a blessing nowdays being able to be in control of every little detail of your career but theres was a sense of more community and colaboration back in those days than now.

www.myspace.com/luisangulocom


--- On Fri, 12/5/08, andy butler <akbutler@tiscali.co.uk> wrote:

> From: andy butler <akbutler@tiscali.co.uk>
> Subject: Re: ART Regular Output  vs. Inspiration
> To: Loopers-Delight@loopers-delight.com
> Date: Friday, December 5, 2008, 12:39 AM
> > You know, i am not a hippie and wasnt born in that time
> but  when i see all those classic rock bands it seems the
> last thing they f*ckin cared about is the sound system,and
> although they had limited gear they did so much with it.
> 
> Um...
> Grateful Dead, famous for their innovative "wall of
> sound" sound system.
> Pink Floyd, innovators of the quadrophonic pa.
> Led Zep, well known for the loudest pa.
> 
> Bands cared about the live sound in those days.
> 
> What is not ever mentioned is that live sound in the mid
> 70's
> was generally much better than it is today,
> nowadays gigs aren't about that at all.
> 
> 
> andy butler


      

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 09:29:59 2008
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I'm doing a lot of emailing tonight
and listening to tracks from the brand new release of
Northern Irish live looping artist,  Ricky Graham,  "Rain Down Fire".

I'm really thoroughly enjoying this record.   It's really sonicaly 
sophisticated
with really delicious choices of timbre in the excellent and 
professional production.

It's also really cool because Ricky has taken on several different 
styles of
pop music and made largely instrumental tracks.

He goes from dreamy ambient-ish trip hop to industrial tracks to drum 
and bass in a way
that, amazingly,  all feels coherent despite large stylistic leaps.

The biggest compliment I can give to this really wonderful outing
by a young musician (currently doing his Masters Thesis on Live Looping, 
by the way)
is that these tracks would be fantastic tracks to add pop vocals to.

In fact, it would be awesome if he were to do a follow up EP by giving 
these
tracks to some really good singer/songwriters and just have them write 
lyrics
and record them.   The tracks are just that good!

Check it out.

http://www.rickygraham.net/


From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 09:39:15 2008
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From: "Per Boysen" <perboysen@gmail.com>
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Subject: Re: learning
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On Fri, Dec 5, 2008 at 6:38 AM, Raul Bonell <raul.bonell@gmail.com> wrote:
> ... which's your method(s) for progressing as a
> musician? where does the principal input comes from that makes you
> grow?

Some things that have worked well for me:

- Play together with musicians that are more experienced and better
than yourself.
- Accept difficult tasks and fulfill them (concerts, recordings, compositions)
- Never believe that you do not have inspiration. Inspiration is
there, as always, inside you. Shut up and go find it!
- Alternate between playing different instruments
- When you play with others, do not play what they play. Find the
"holes" where you can fit something else in.
- Apply "questions and answers" attitude to your playing (and composing).
- When playing funky, do not play every note. But still THINK them.
Just leave them out on your physical instrument but keep the groove
within going, and your ass will follow.... ;-)
- When playing, do not listen to your own instrument but to everything
around it.
- When playing, do not concentrate on the present moment. Try
listening to the music that will happen ten seconds into the future.
- Do not play your instrument - play your music!

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 10:01:22 2008
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Date: Fri, 5 Dec 2008 02:01:21 -0800
From: Nick <ParadoxQuine@gmail.com>
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To: Loopers-Delight@loopers-delight.com
Subject: slicing audio
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hi everyone,

I've been trying my darndest to slice short samples out of tracks in
ableton live and well...every method I know is terrible. I'm currently
using the method described in the tutorial where I drag the file to
the arrangement view and then zoom in and position the start and end
points of the clip or the loop and then repeat until I get it right.
The problem with this method for me is that it's slow and clumsy - I
see no reason why I shouldn't be able to zoom in a bit (in the sample
editor in session view), select the area I want, select a menu item or
similar and poof - there's a new sample that I can drag into impulse.
If someone could point me in the right direction for learning how to
do this in live (perhaps a good tutorial site), that would be great.

However, if the process really does require dragging clips to arrange
view and zooming in repeatedly and positioning markets, I'd much
rather get a plugin or other program to do my splicing with - is
Propellerheads' Recycle still good? If not, any alternative
recommendations would be much appreciated. I'd prefer to do it all in
live if possible though.

Thanks,
Nick

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 10:13:44 2008
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Date: Fri, 5 Dec 2008 11:13:43 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: slicing audio
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Hey Nick, why not try slicing a stream instead of a file? Ableton Live
would be the excellent tool for that! This technique is based setting
up MIDI clips as "slicer templates". Then you send the signal
somewhere to be recorded but on the way it should be routed through
some object (volume, noise gate, filer cut-off... there are many
options) that is being manipulated by the Slicer Template MIDI clip.
You can then assign the Slicer MIDI Clips to pedals or computer keys
and play them in realtime to mess with the slicing.  If you are using
a Mac you can send any track's MIDI output to the IAC Bus and have
that fetched as the input to another track where the MIDI events are
MIDI learned to manipulate certain slicing objects.

If you don't already know about "Clip Envelopes" you should also check
that out in the manual.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Fri, Dec 5, 2008 at 11:01 AM, Nick <ParadoxQuine@gmail.com> wrote:
> hi everyone,
>
> I've been trying my darndest to slice short samples out of tracks in
> ableton live and well...every method I know is terrible. I'm currently
> using the method described in the tutorial where I drag the file to
> the arrangement view and then zoom in and position the start and end
> points of the clip or the loop and then repeat until I get it right.
> The problem with this method for me is that it's slow and clumsy - I
> see no reason why I shouldn't be able to zoom in a bit (in the sample
> editor in session view), select the area I want, select a menu item or
> similar and poof - there's a new sample that I can drag into impulse.
> If someone could point me in the right direction for learning how to
> do this in live (perhaps a good tutorial site), that would be great.
>
> However, if the process really does require dragging clips to arrange
> view and zooming in repeatedly and positioning markets, I'd much
> rather get a plugin or other program to do my splicing with - is
> Propellerheads' Recycle still good? If not, any alternative
> recommendations would be much appreciated. I'd prefer to do it all in
> live if possible though.
>
> Thanks,
> Nick
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 11:06:31 2008
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From: "Michael Peters" <mp@mpeters.de>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
Subject: Aarset-BitRMan-Kornstad
Date: Fri, 5 Dec 2008 12:06:28 +0100
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I saw Eivind Aarset's group live yesterday ... he continues to amaze and
inspire me like no other guitarist at the moment ... what a wonderful =
gig!

As usual he used Ableton Live, so did his drummer, effortlessly morphing
from a free improvisation to a groove that suddenly contained =
prerecorded
sounds and melodies ... for his guitar playing, Aarset used a very wide
range of sounds, from utterly tweaked and distorted to breathtakingly
beautiful. I lo-res-photographed his setup after the show ... on the =
table
from left to right: a Moogerfooger, a ZVex effect - but which one? -, an
Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some
more fuzz boxes ... don't recognize them, anyone?

http://www.veloopity.de/temp/DSC00015.JPG=20
http://www.veloopity.de/temp/DSC00018.JPG

I wonder if it could have been his Alesis BitRMan that occasionally =
produced
those intentionally completely distorted sounds (which I've also heard =
from
NiN before I think) - as if some input was cranked up way beyond normal
distortion, so much that the sound gets interrupted ... does anyone know
what I mean and how this is done?

Does any of the guitarists here use the Bitrman with interesting =
results?
all the online demos are done with techno rhythm machines ...

One nice discovery for me on this evening was saxophone player H=E5kon
Kornstad (http://de.youtube.com/watch?v=3D3u0tCpG5vPE) who played an =
extensive
solo set before he played with the Aarset trio - he uses playing =
techniques
that I have never heard before from a saxophone, and he loops with a
repeater. Ever since the days of Terry Riley and Dickie Landry, I love
saxophone loops!


Michael
www.michaelpeters.de

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 11:56:06 2008
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Date: Fri, 5 Dec 2008 12:56:04 +0100
From: "mark francombe" <mark@markfrancombe.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Aarset-BitRMan-Kornstad
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------=_Part_51194_19111804.1228478164686
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Yes I use the Bitrman quite extensively... nasty little plastic box that it
is, that needs to not be in your signal when not working... and not on the
floor... and silly AC psu (hate alesis for that.. and the vortex.. and
digitech... actually alot of my pedals.. annoying..) And YES its that ultra
grunged up till it falls apart. I LOVE the sound of ultra distortion WHEN i=
t
has a tad of reverb... completely wonderful.

m

On Fri, Dec 5, 2008 at 12:06 PM, Michael Peters <mp@mpeters.de> wrote:

> I saw Eivind Aarset's group live yesterday ... he continues to amaze and
> inspire me like no other guitarist at the moment ... what a wonderful gig=
!
>
> As usual he used Ableton Live, so did his drummer, effortlessly morphing
> from a free improvisation to a groove that suddenly contained prerecorded
> sounds and melodies ... for his guitar playing, Aarset used a very wide
> range of sounds, from utterly tweaked and distorted to breathtakingly
> beautiful. I lo-res-photographed his setup after the show ... on the tabl=
e
> from left to right: a Moogerfooger, a ZVex effect - but which one? -, an
> Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some
> more fuzz boxes ... don't recognize them, anyone?
>
> http://www.veloopity.de/temp/DSC00015.JPG
> http://www.veloopity.de/temp/DSC00018.JPG
>
> I wonder if it could have been his Alesis BitRMan that occasionally
> produced
> those intentionally completely distorted sounds (which I've also heard fr=
om
> NiN before I think) - as if some input was cranked up way beyond normal
> distortion, so much that the sound gets interrupted ... does anyone know
> what I mean and how this is done?
>
> Does any of the guitarists here use the Bitrman with interesting results?
> all the online demos are done with techno rhythm machines ...
>
> One nice discovery for me on this evening was saxophone player H=E5kon
> Kornstad (http://de.youtube.com/watch?v=3D3u0tCpG5vPE) who played an
> extensive
> solo set before he played with the Aarset trio - he uses playing techniqu=
es
> that I have never heard before from a saxophone, and he loops with a
> repeater. Ever since the days of Terry Riley and Dickie Landry, I love
> saxophone loops!
>
>
> Michael
> www.michaelpeters.de
>
>


--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

------=_Part_51194_19111804.1228478164686
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Yes I use the Bitrman quite extensively... nasty little plastic box that it=
 is, that needs to not be in your signal when not working... and not on the=
 floor... and silly AC psu (hate alesis for that.. and the vortex.. and dig=
itech... actually alot of my pedals.. annoying..) And YES its that ultra gr=
unged up till it falls apart. I LOVE the sound of ultra distortion WHEN it =
has a tad of reverb... completely wonderful.<br>
<br>m<br><br><div class=3D"gmail_quote">On Fri, Dec 5, 2008 at 12:06 PM, Mi=
chael Peters <span dir=3D"ltr">&lt;<a href=3D"mailto:mp@mpeters.de">mp@mpet=
ers.de</a>&gt;</span> wrote:<br><blockquote class=3D"gmail_quote" style=3D"=
border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; paddi=
ng-left: 1ex;">
I saw Eivind Aarset&#39;s group live yesterday ... he continues to amaze an=
d<br>
inspire me like no other guitarist at the moment ... what a wonderful gig!<=
br>
<br>
As usual he used Ableton Live, so did his drummer, effortlessly morphing<br=
>
from a free improvisation to a groove that suddenly contained prerecorded<b=
r>
sounds and melodies ... for his guitar playing, Aarset used a very wide<br>
range of sounds, from utterly tweaked and distorted to breathtakingly<br>
beautiful. I lo-res-photographed his setup after the show ... on the table<=
br>
from left to right: a Moogerfooger, a ZVex effect - but which one? -, an<br=
>
Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some<br=
>
more fuzz boxes ... don&#39;t recognize them, anyone?<br>
<br>
<a href=3D"http://www.veloopity.de/temp/DSC00015.JPG" target=3D"_blank">htt=
p://www.veloopity.de/temp/DSC00015.JPG</a><br>
<a href=3D"http://www.veloopity.de/temp/DSC00018.JPG" target=3D"_blank">htt=
p://www.veloopity.de/temp/DSC00018.JPG</a><br>
<br>
I wonder if it could have been his Alesis BitRMan that occasionally produce=
d<br>
those intentionally completely distorted sounds (which I&#39;ve also heard =
from<br>
NiN before I think) - as if some input was cranked up way beyond normal<br>
distortion, so much that the sound gets interrupted ... does anyone know<br=
>
what I mean and how this is done?<br>
<br>
Does any of the guitarists here use the Bitrman with interesting results?<b=
r>
all the online demos are done with techno rhythm machines ...<br>
<br>
One nice discovery for me on this evening was saxophone player H=E5kon<br>
Kornstad (<a href=3D"http://de.youtube.com/watch?v=3D3u0tCpG5vPE" target=3D=
"_blank">http://de.youtube.com/watch?v=3D3u0tCpG5vPE</a>) who played an ext=
ensive<br>
solo set before he played with the Aarset trio - he uses playing techniques=
<br>
that I have never heard before from a saxophone, and he loops with a<br>
repeater. Ever since the days of Terry Riley and Dickie Landry, I love<br>
saxophone loops!<br>
<br>
<br>
Michael<br>
<a href=3D"http://www.michaelpeters.de" target=3D"_blank">www.michaelpeters=
.de</a><br>
<br>
</blockquote></div><br><br clear=3D"all"><br>-- <br><a href=3D"http://www.m=
arkfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://vimeo.com/=
user825094">http://vimeo.com/user825094</a><br><a href=3D"http://uk.youtube=
.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mar=
kfrancombe</a><br><a href=3D"http://www.looop.no">www.looop.no</a><br>

------=_Part_51194_19111804.1228478164686--

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From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Aarset-BitRMan-Kornstad
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> from left to right: a Moogerfooger, a ZVex effect - but which one? -, an
> Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some
> more fuzz boxes ... don't recognize them, anyone?

The ZVex ist the Vertex version of the Fuzz Factory,
custom-hand-painted on as it seems.
The "more fuzz boxes" include a Boss OD-2, a T-Rex Comp Nova and a Rat
Turbo Rat.

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 12:08:59 2008
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Date: Fri, 5 Dec 2008 13:08:58 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Aarset-BitRMan-Kornstad
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I agree with Michael and Marc. Have always been a huge fan of Pete
Cosey's "almost falling apart" guitar sound. ;-)
http://www.allaboutjazz.com/php/article.php?id=3D26242

I like the dist + filtering of an AKAI MFC42 for guitar. Very grainy!

per


On Fri, Dec 5, 2008 at 12:56 PM, mark francombe <mark@markfrancombe.com> wr=
ote:
> Yes I use the Bitrman quite extensively... nasty little plastic box that =
it
> is, that needs to not be in your signal when not working... and not on th=
e
> floor... and silly AC psu (hate alesis for that.. and the vortex.. and
> digitech... actually alot of my pedals.. annoying..) And YES its that ult=
ra
> grunged up till it falls apart. I LOVE the sound of ultra distortion WHEN=
 it
> has a tad of reverb... completely wonderful.
>
> m
>
> On Fri, Dec 5, 2008 at 12:06 PM, Michael Peters <mp@mpeters.de> wrote:
>>
>> I saw Eivind Aarset's group live yesterday ... he continues to amaze and
>> inspire me like no other guitarist at the moment ... what a wonderful gi=
g!
>>
>> As usual he used Ableton Live, so did his drummer, effortlessly morphing
>> from a free improvisation to a groove that suddenly contained prerecorde=
d
>> sounds and melodies ... for his guitar playing, Aarset used a very wide
>> range of sounds, from utterly tweaked and distorted to breathtakingly
>> beautiful. I lo-res-photographed his setup after the show ... on the tab=
le
>> from left to right: a Moogerfooger, a ZVex effect - but which one? -, an
>> Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some
>> more fuzz boxes ... don't recognize them, anyone?
>>
>> http://www.veloopity.de/temp/DSC00015.JPG
>> http://www.veloopity.de/temp/DSC00018.JPG
>>
>> I wonder if it could have been his Alesis BitRMan that occasionally
>> produced
>> those intentionally completely distorted sounds (which I've also heard
>> from
>> NiN before I think) - as if some input was cranked up way beyond normal
>> distortion, so much that the sound gets interrupted ... does anyone know
>> what I mean and how this is done?
>>
>> Does any of the guitarists here use the Bitrman with interesting results=
?
>> all the online demos are done with techno rhythm machines ...
>>
>> One nice discovery for me on this evening was saxophone player H=E5kon
>> Kornstad (http://de.youtube.com/watch?v=3D3u0tCpG5vPE) who played an
>> extensive
>> solo set before he played with the Aarset trio - he uses playing
>> techniques
>> that I have never heard before from a saxophone, and he loops with a
>> repeater. Ever since the days of Terry Riley and Dickie Landry, I love
>> saxophone loops!
>>
>>
>> Michael
>> www.michaelpeters.de
>>
>
>
>
> --
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no
>



--=20
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=3D6550

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 12:35:25 2008
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Hey, 
I'm just loving Aarset's music as well, Per.............so jealous that 
you got a chance to see him.

I'm actually in corespondance with him about possibly headling Y2K9 next 
year.
Wish me luck!!!  If I can raise the dough ,  he's game to come.

Also,  just because I just bought one,  I'm guessing that the
ZVEX in his rig is the FUZZ FACTORY.    It's the exact same size as mine
with the same box and button configuration.

It is an astonishingly great fuzz box. 
ZVEX couldn't keep up with the demand so he started to farm out some of his
pedals to Thailand, apparently,  with the exact same parts.

Mine cost $175 USD instead of the normal $250 for an American built one 
and $325 for one he built with his
custom paint job.

Frankly,  I hate the graphics on his pedals so I just got the cheap Thai 
one.
His pedals are so wonderful and inventive, I wish I had them all, but 
whoaaaaaa,  the price!

It has a noise gate,   a compressor,   a comb filter and a fuzz on it 
and you can
get anything from the most syrupy smooth fuzz in the world or something 
that is so awful
that I actually like it <smile>

I am in love with the pedal.

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 12:41:59 2008
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Ooops, quick addendum,  I replied immediately upon looking at your 
.jpegs before
I finished your post, Michael.

The Bitrman is GOD!!!!!!!!

Just talke to the Bitrman king,   Michael Klobuchar.

It has so much fucked up shit in it (lo fi, bit reduction, 
distorition.............it's an amazing piece of gear.
It also has a mind of it's own at times...............ask Michael for 
the low down, he uses it
much more than I do.

If you can't find one used,  the Alesis Ineko has many of the same 
algorithms in it including
a lot of 'deterioration' algorithms, bit reduction, low fi, etc.)

Also, there are settings on the ZVEX FUZZ FACTORY that when a guitar chord
rings out............the sound just falls apart almost like grains of 
the sound
drop out increasingly.

I love this effect.

Lately I've been using an open tuned fretless stratocaster going through 
the FUZZ FACTORY
with this 'deterioration' setting and then through an octaver set to two 
octaves below.

I hit a huge open chord and then play the Octave pedal rhythmically until
the FUZZ FACTORY just makes the sound cut completely out.

It's a killer sound.

try one. you'll like it!!!!!


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From: Chris Sewell <midifriedchicken@comcast.net>
Subject: Re: ART Regular Output  vs. Inspiration
Date: Fri, 5 Dec 2008 08:42:45 -0500
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Yeah, the Grateful Dead and Alembic were some of the first musicians  
to utilize advanced filters and other high end electronics within  
there instruments.

This was also slightly ahead of my time, but maybe some of the older  
guys can explain what a show sounded like when all those Marshall  
stacks weren't just props like they are today.
These days, everything goes through the PA. What did it sound like  
when only drums and vox went through the PA?
On Dec 5, 2008, at 3:39 AM, andy butler wrote:

>> You know, i am not a hippie and wasnt born in that time but  when  
>> i see all those classic rock bands it seems the last thing they  
>> f*ckin cared about is the sound system,and although they had  
>> limited gear they did so much with it.
>
> Um...
> Grateful Dead, famous for their innovative "wall of sound" sound  
> system.
> Pink Floyd, innovators of the quadrophonic pa.
> Led Zep, well known for the loudest pa.
>
> Bands cared about the live sound in those days.
>
> What is not ever mentioned is that live sound in the mid 70's
> was generally much better than it is today,
> nowadays gigs aren't about that at all.
>
>
> andy butler
>
>

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Subject: Re: learning
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  Thanks Per. I am so in a rut right now. These tips are great.
On Dec 5, 2008, at 4:39 AM, Per Boysen wrote:

> On Fri, Dec 5, 2008 at 6:38 AM, Raul Bonell <raul.bonell@gmail.com>  
> wrote:
>> ... which's your method(s) for progressing as a
>> musician? where does the principal input comes from that makes you
>> grow?
>
> Some things that have worked well for me:
>
> - Play together with musicians that are more experienced and better
> than yourself.
> - Accept difficult tasks and fulfill them (concerts, recordings,  
> compositions)
> - Never believe that you do not have inspiration. Inspiration is
> there, as always, inside you. Shut up and go find it!
> - Alternate between playing different instruments
> - When you play with others, do not play what they play. Find the
> "holes" where you can fit something else in.
> - Apply "questions and answers" attitude to your playing (and  
> composing).
> - When playing funky, do not play every note. But still THINK them.
> Just leave them out on your physical instrument but keep the groove
> within going, and your ass will follow.... ;-)
> - When playing, do not listen to your own instrument but to everything
> around it.
> - When playing, do not concentrate on the present moment. Try
> listening to the music that will happen ten seconds into the future.
> - Do not play your instrument - play your music!
>
> -- 
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>

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>These days, everything goes through the PA. What did it sound like when
>only drums and vox went through the PA?

It very much depended on where in the audience you were.  I started going to
concerts in 1977.  I was into being at the front of the stage.  The sound
there pretty much sucked.  All you could hear was the guitar and bass amps.
I saw ZZTop, all I could hear was Billy G.  Jefferson Starship.  Cool, but I
couldn't hear Grace at all.  The more shows I went to, the more I realized
that the best place to stand (if it was festival style seating) was as close
to the soundboard as you could get.  The good party was in the front, the
good sound was not.

I think everything going through the PA gives a better distributed sound
through out the venue.  You'll still get good spots and bad, but the range
from good to bad is not so severe.

Some of the best sounding shows I've ever been to have been recently.  Tool,
King Crimson, Rush, Dream Theater.  And the worst were back in the 70's -
Van Halen, Starship.  Though there were some outstanding sounding shows back
then too.  As long as I wasn't in party central by the stage. :)


On Fri, Dec 5, 2008 at 8:42 AM, Chris Sewell
<midifriedchicken@comcast.net>wrote:

> Yeah, the Grateful Dead and Alembic were some of the first musicians to
> utilize advanced filters and other high end electronics within there
> instruments.
>
> This was also slightly ahead of my time, but maybe some of the older guys
> can explain what a show sounded like when all those Marshall stacks weren't
> just props like they are today.
> These days, everything goes through the PA. What did it sound like when
> only drums and vox went through the PA?
>
> On Dec 5, 2008, at 3:39 AM, andy butler wrote:
>
>  You know, i am not a hippie and wasnt born in that time but  when i see
>>> all those classic rock bands it seems the last thing they f*ckin cared about
>>> is the sound system,and although they had limited gear they did so much with
>>> it.
>>>
>>
>> Um...
>> Grateful Dead, famous for their innovative "wall of sound" sound system.
>> Pink Floyd, innovators of the quadrophonic pa.
>> Led Zep, well known for the loudest pa.
>>
>> Bands cared about the live sound in those days.
>>
>> What is not ever mentioned is that live sound in the mid 70's
>> was generally much better than it is today,
>> nowadays gigs aren't about that at all.
>>
>>
>> andy butler
>>
>>
>>
>


-- 
-==-=-=-
Tony

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&gt;These days, everything goes through the PA. What did it sound like when <br>&gt;only drums and vox went through the PA?<br><br>It very much depended on where in the audience you were.&nbsp; I started going to concerts in 1977.&nbsp; I was into being at the front of the stage.&nbsp; The sound there pretty much sucked.&nbsp; All you could hear was the guitar and bass amps.&nbsp; I saw ZZTop, all I could hear was Billy G.&nbsp; Jefferson Starship.&nbsp; Cool, but I couldn&#39;t hear Grace at all.&nbsp; The more shows I went to, the more I realized that the best place to stand (if it was festival style seating) was as close to the soundboard as you could get.&nbsp; The good party was in the front, the good sound was not.<br>
<br>I think everything going through the PA gives a better distributed sound through out the venue.&nbsp; You&#39;ll still get good spots and bad, but the range from good to bad is not so severe.&nbsp; <br><br>Some of the best sounding shows I&#39;ve ever been to have been recently.&nbsp; Tool, King Crimson, Rush, Dream Theater.&nbsp; And the worst were back in the 70&#39;s - Van Halen, Starship.&nbsp; Though there were some outstanding sounding shows back then too.&nbsp; As long as I wasn&#39;t in party central by the stage. :)<br>
<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 8:42 AM, Chris Sewell <span dir="ltr">&lt;<a href="mailto:midifriedchicken@comcast.net">midifriedchicken@comcast.net</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Yeah, the Grateful Dead and Alembic were some of the first musicians to utilize advanced filters and other high end electronics within there instruments.<br>
<br>
This was also slightly ahead of my time, but maybe some of the older guys can explain what a show sounded like when all those Marshall stacks weren&#39;t just props like they are today.<br>
These days, everything goes through the PA. What did it sound like when only drums and vox went through the PA?<div><div></div><div class="Wj3C7c"><br>
On Dec 5, 2008, at 3:39 AM, andy butler wrote:<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">

You know, i am not a hippie and wasnt born in that time but &nbsp;when i see all those classic rock bands it seems the last thing they f*ckin cared about is the sound system,and although they had limited gear they did so much with it.<br>

</blockquote>
<br>
Um...<br>
Grateful Dead, famous for their innovative &quot;wall of sound&quot; sound system.<br>
Pink Floyd, innovators of the quadrophonic pa.<br>
Led Zep, well known for the loudest pa.<br>
<br>
Bands cared about the live sound in those days.<br>
<br>
What is not ever mentioned is that live sound in the mid 70&#39;s<br>
was generally much better than it is today,<br>
nowadays gigs aren&#39;t about that at all.<br>
<br>
<br>
andy butler<br>
<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br>-==-=-=- <br>Tony<br>

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From: "Simeon Harris" <simeonharris40@googlemail.com>
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To: Loopers-Delight@loopers-delight.com
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oh michael, you're a lucky man!
i'm a huge fan of Eivind and he's a bit of an influence on me...i think he's
a total genius when it come to processing and a wonderful player, too

On Fri, Dec 5, 2008 at 11:06 AM, Michael Peters <mp@mpeters.de> wrote:

> I saw Eivind Aarset's group live yesterday ... he continues to amaze and
> inspire me like no other guitarist at the moment ... what a wonderful gig!
>
>

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oh michael, you&#39;re a lucky man!<div><br></div><div>i&#39;m a huge fan of Eivind and he&#39;s a bit of an influence on me...i think he&#39;s a total genius when it come to processing and a wonderful player, too<br><br><div class="gmail_quote">
On Fri, Dec 5, 2008 at 11:06 AM, Michael Peters <span dir="ltr">&lt;<a href="mailto:mp@mpeters.de">mp@mpeters.de</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
I saw Eivind Aarset&#39;s group live yesterday ... he continues to amaze and<br>
inspire me like no other guitarist at the moment ... what a wonderful gig!<br>
<br></blockquote></div></div>

------=_Part_47214_22470937.1228491633393--

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 15:42:01 2008
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Date: Fri, 5 Dec 2008 10:43:26 EST
Subject: Re: Aarset-BitRMan-Kornstad
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In a message dated 12/5/08 7:42:19 AM, looppool@cruzio.com writes:


> The Bitrman is GOD!!!!!!!!
> 

funny you should put it that way rikeeeee.....thinking not only of this 
thread but also the one "rude" raul posted.....:).....starting with the "learning" 
thread: just yesterday i was thinking that i want nothing on my plate, 
deadlines freak me out, knowing that i have to be somewhere next wednesday makes me 
nervous, i can't sleep, i get weird and anxious.....so.....when i try to be 
creative, i just sit down and hit the BIG BUTTON, up comes all the blinky lites 
and it's off to the races......for the longest while, with the aid of THE 
BITRMAN and my other boxes, i have become addicted to listening to the "voices" 
arising from a signal being sent into filters etc. throw in some looping and i'm 
listening ffor the VOICE OF GOD, always hoping i don't hear "turn that shit 
off!"......now for the BITRMAN: a great box!.....right now, i use 2 pre-loop, my 
guitar has 2 outs (buckers/piezo), the bucker out goes to zoom 2100> digi 
(XP300) space station>bitrman>mixer.....the piezo out goes into bitrman>
mixer.....then it's off to krazy electrix land then pre and post rang ineko 
goofiness.....but the biterman: i like how they   pre-amp the incoming signal so it's one 
more volume control to help fine tune a "sound".....the "dual phasor" knob is 
sweet, adds a good deal of STEREO spread that you can control the speed of, 
with 2 you can play these back and forth against each other.....slower speeds 
it sounds flangy, higher speeds lead to more extreme sounds.....the last button 
"the bitrman" button gets you onto the krazy train: comb/decimator/bit 
reduction/FM/ring mod/freq shift.....michael, there is a small universe here that 
can be used, but "hands only", none of that sissy midi vodoo.....:).....tons of 
control and once again using two in conjuncture with the INEKOS, both pre and 
post loop, i have just been inputting a few notes then its off to knob city 
for some twist and shout.....bottom line: if i were to see an INEKO or a BITRMAN 
for sale or trade i would go for it, what would i pay? i hope i don't have to 
find out!.....if i recall correctly, mr. davignon is a bitman, alesis 
user.....there are many of us and i have never heard of any bitrman 
shortcomings.....in fact, mine is calling me now!.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010)

--part1_c88.3c6bc85f.366aa61e_boundary
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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 12/5/08 7:42:19 AM, looppool@cruzio.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">The Bitrman is GOD!!!=
!!!!!<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">funny you should put it that way rikeeeee.....thinking not only of this t=
hread but also the one "rude" raul posted.....:).....starting with the "lear=
ning" thread: just yesterday i was thinking that i want nothing on my plate,=
 deadlines freak me out, knowing that i have to be somewhere next wednesday=20=
makes me nervous, i can't sleep, i get weird and anxious.....so.....when i t=
ry to be creative, i just sit down and hit the BIG BUTTON, up comes all the=20=
blinky lites and it's off to the races......for the longest while, with the=20=
aid of THE BITRMAN and my other boxes, i have become addicted to listening t=
o the "voices" arising from a signal being sent into filters etc. throw in s=
ome looping and i'm listening ffor the VOICE OF GOD, always hoping i don't h=
ear "turn that shit off!"......now for the BITRMAN: a great box!.....right n=
ow, i use 2 pre-loop, my guitar has 2 outs (buckers/piezo), the bucker out g=
oes to zoom 2100&gt; digi (XP300) space station&gt;bitrman&gt;mixer.....the=20=
piezo out goes into bitrman&gt;mixer.....then it's off to krazy electrix lan=
d then pre and post rang ineko goofiness.....but the biterman: i like how th=
ey&nbsp;  pre-amp the incoming signal so it's one more volume control to hel=
p fine tune a "sound".....the "dual phasor" knob is sweet, adds a good deal=20=
of STEREO spread that you can control the speed of, with 2 you can play thes=
e back and forth against each other.....slower speeds it sounds flangy, high=
er speeds lead to more extreme sounds.....the last button "the bitrman" butt=
on gets you onto the krazy train: comb/decimator/bit reduction/FM/ring mod/f=
req shift.....michael, there is a small universe here that can be used, but=20=
"hands only", none of that sissy midi vodoo.....:).....tons of control and o=
nce again using two in conjuncture with the INEKOS, both pre and post loop,=20=
i have just been inputting a few notes then its off to knob city for some tw=
ist and shout.....bottom line: if i were to see an INEKO or a BITRMAN for sa=
le or trade i would go for it, what would i pay? i hope i don't have to find=
 out!.....if i recall correctly, mr. davignon is a bitman, alesis user.....t=
here are many of us and i have never heard of any bitrman shortcomings.....i=
n fact, mine is calling me now!.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

--part1_c88.3c6bc85f.366aa61e_boundary--

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 15:46:19 2008
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Message-ID: <d1dcce560812050746i3ad7a5efx7535d0e9863cc7e2@mail.gmail.com>
Date: Fri, 5 Dec 2008 10:46:17 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Aarset-BitRMan-Kornstad
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I bought the entire ModFX set before it was discontinued.  Love 'em all.
Don't use the MetaVox much though.  I need to play with it more.


On Fri, Dec 5, 2008 at 10:43 AM, <Nemoguitt@aol.com> wrote:

>
> In a message dated 12/5/08 7:42:19 AM, looppool@cruzio.com writes:
>
>
> The Bitrman is GOD!!!!!!!!
>
>
> funny you should put it that way rikeeeee.....thinking not only of this
> thread but also the one "rude" raul posted.....:).....starting with the
> "learning" thread: just yesterday i was thinking that i want nothing on my
> plate, deadlines freak me out, knowing that i have to be somewhere next
> wednesday makes me nervous, i can't sleep, i get weird and
> anxious.....so.....when i try to be creative, i just sit down and hit the
> BIG BUTTON, up comes all the blinky lites and it's off to the races......for
> the longest while, with the aid of THE BITRMAN and my other boxes, i have
> become addicted to listening to the "voices" arising from a signal being
> sent into filters etc. throw in some looping and i'm listening ffor the
> VOICE OF GOD, always hoping i don't hear "turn that shit off!"......now for
> the BITRMAN: a great box!.....right now, i use 2 pre-loop, my guitar has 2
> outs (buckers/piezo), the bucker out goes to zoom 2100> digi (XP300) space
> station>bitrman>mixer.....the piezo out goes into bitrman>mixer.....then
> it's off to krazy electrix land then pre and post rang ineko
> goofiness.....but the biterman: i like how they  pre-amp the incoming signal
> so it's one more volume control to help fine tune a "sound".....the "dual
> phasor" knob is sweet, adds a good deal of STEREO spread that you can
> control the speed of, with 2 you can play these back and forth against each
> other.....slower speeds it sounds flangy, higher speeds lead to more extreme
> sounds.....the last button "the bitrman" button gets you onto the krazy
> train: comb/decimator/bit reduction/FM/ring mod/freq shift.....michael,
> there is a small universe here that can be used, but "hands only", none of
> that sissy midi vodoo.....:).....tons of control and once again using two in
> conjuncture with the INEKOS, both pre and post loop, i have just been
> inputting a few notes then its off to knob city for some twist and
> shout.....bottom line: if i were to see an INEKO or a BITRMAN for sale or
> trade i would go for it, what would i pay? i hope i don't have to find
> out!.....if i recall correctly, mr. davignon is a bitman, alesis
> user.....there are many of us and i have never heard of any bitrman
> shortcomings.....in fact, mine is calling me now!.....:)m
>
> "EVERYTHING YOU KNOW IS WRONG".....firesign theater
>
> new groovy tunes at:
> http://www.myspace.com/klobuchar10
> www.ct-collective.com
>
>
>
>
>
> **************
> Make your life easier with all your friends, email, and favorite sites in
> one place. Try it now. (
> http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom00000010)
>




-- 
-==-=-=-
Tony

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I bought the entire ModFX set before it was discontinued.&nbsp; Love &#39;e=
m all.&nbsp; Don&#39;t use the MetaVox much though.&nbsp; I need to play wi=
th it more.<br><br><br><div class=3D"gmail_quote">On Fri, Dec 5, 2008 at 10=
:43 AM,  <span dir=3D"ltr">&lt;<a href=3D"mailto:Nemoguitt@aol.com">Nemogui=
tt@aol.com</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><font face=3D"ari=
al,helvetica"><font size=3D"2" color=3D"#000000" face=3D"Geneva"><br>
In a message dated 12/5/08 7:42:19 AM, <a href=3D"mailto:looppool@cruzio.co=
m" target=3D"_blank">looppool@cruzio.com</a> writes:<br>
<br>
<br>
<blockquote style=3D"border-left: 2px solid rgb(0, 0, 255); margin-left: 5p=
x; margin-right: 0px; padding-left: 5px;" type=3D"CITE"></blockquote></font=
><font size=3D"2" color=3D"#000000" face=3D"Geneva">The Bitrman is GOD!!!!!=
!!!<br>

</font><font size=3D"2" color=3D"#000000" face=3D"Geneva"><br>
<br>
</font><font size=3D"2" color=3D"#000000" face=3D"Geneva">funny you should =
put it that way rikeeeee.....thinking not only of this thread but also the =
one &quot;rude&quot; raul posted.....:).....starting with the &quot;learnin=
g&quot; thread: just yesterday i was thinking that i want nothing on my pla=
te, deadlines freak me out, knowing that i have to be somewhere next wednes=
day makes me nervous, i can&#39;t sleep, i get weird and anxious.....so....=
.when i try to be creative, i just sit down and hit the BIG BUTTON, up come=
s all the blinky lites and it&#39;s off to the races......for the longest w=
hile, with the aid of THE BITRMAN and my other boxes, i have become addicte=
d to listening to the &quot;voices&quot; arising from a signal being sent i=
nto filters etc. throw in some looping and i&#39;m listening ffor the VOICE=
 OF GOD, always hoping i don&#39;t hear &quot;turn that shit off!&quot;....=
..now for the BITRMAN: a great box!.....right now, i use 2 pre-loop, my gui=
tar has 2 outs (buckers/piezo), the bucker out goes to zoom 2100&gt; digi (=
XP300) space station&gt;bitrman&gt;mixer.....the piezo out goes into bitrma=
n&gt;mixer.....then it&#39;s off to krazy electrix land then pre and post r=
ang ineko goofiness.....but the biterman: i like how they&nbsp;  pre-amp th=
e incoming signal so it&#39;s one more volume control to help fine tune a &=
quot;sound&quot;.....the &quot;dual phasor&quot; knob is sweet, adds a good=
 deal of STEREO spread that you can control the speed of, with 2 you can pl=
ay these back and forth against each other.....slower speeds it sounds flan=
gy, higher speeds lead to more extreme sounds.....the last button &quot;the=
 bitrman&quot; button gets you onto the krazy train: comb/decimator/bit red=
uction/FM/ring mod/freq shift.....michael, there is a small universe here t=
hat can be used, but &quot;hands only&quot;, none of that sissy midi vodoo.=
....:).....tons of control and once again using two in conjuncture with the=
 INEKOS, both pre and post loop, i have just been inputting a few notes the=
n its off to knob city for some twist and shout.....bottom line: if i were =
to see an INEKO or a BITRMAN for sale or trade i would go for it, what woul=
d i pay? i hope i don&#39;t have to find out!.....if i recall correctly, mr=
. davignon is a bitman, alesis user.....there are many of us and i have nev=
er heard of any bitrman shortcomings.....in fact, mine is calling me now!..=
...:)m<br>

<br>
&quot;EVERYTHING YOU KNOW IS WRONG&quot;.....firesign theater<br>
<br>
new groovy tunes at:<br>
<a href=3D"http://www.myspace.com/klobuchar10" target=3D"_blank">http://www=
.myspace.com/klobuchar10</a><br>
<a href=3D"http://www.ct-collective.com" target=3D"_blank">www.ct-collectiv=
e.com</a><br>
<br>
<br>
</font><font size=3D"2" color=3D"#000000" face=3D"Geneva"></font><br><br><b=
r>**************<br>Make your life easier with all your friends, email, and=
 favorite sites in one place.  Try it now. (<a href=3D"http://www.aol.com/?=
optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000010" t=
arget=3D"_blank">http://www.aol.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vani=
ty&amp;ncid=3Demlcntaolcom00000010</a>)
</font></blockquote></div><br><br clear=3D"all"><br>-- <br>-=3D=3D-=3D-=3D-=
 <br>Tony<br>

------=_Part_24381_28195457.1228491977843--

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 16:22:09 2008
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: slicing audio
Date: Fri, 5 Dec 2008 08:22:01 -0800
To: Loopers-Delight@loopers-delight.com
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On Dec 5, 2008, at 2:01 AM, Nick wrote:

>  I
> see no reason why I shouldn't be able to zoom in a bit (in the sample
> editor in session view), select the area I want, select a menu item or
> similar and poof - there's a new sample that I can drag into impulse.
> If someone could point me in the right direction for learning how to
> do this in live (perhaps a good tutorial site), that would be great.



There is a tutorial, I think it is part of the software package and  
at the Ableton site, that shows how to create beats in Impulse -- I  
think the .mov is called Beat Creation or Creating Beats --
where in session view you just select a sample from the waveform zoom  
and then iirc, option/click drag it straight into Impulse, no sliders  
or menus needed.

Or perhaps I do not understand your question.

:-)

BobC



http://tinyurl.com/yt8f8j  Flickr set

http://www.youtube.com/tynego

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Hi Nick,

In session view, if you right click in the clip once you've set your 
loop points, there's an option called 'crop sample'. This will create a 
new file that you can do what you wish with.

hth
Owen

Nick wrote:
> hi everyone,
> 
> I've been trying my darndest to slice short samples out of tracks in
> ableton live and well...every method I know is terrible. I'm currently
> using the method described in the tutorial where I drag the file to
> the arrangement view and then zoom in and position the start and end
> points of the clip or the loop and then repeat until I get it right.
> The problem with this method for me is that it's slow and clumsy - I
> see no reason why I shouldn't be able to zoom in a bit (in the sample
> editor in session view), select the area I want, select a menu item or
> similar and poof - there's a new sample that I can drag into impulse.
> If someone could point me in the right direction for learning how to
> do this in live (perhaps a good tutorial site), that would be great.


From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 16:43:17 2008
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Raul Bonell schrieb:
> where does the principal input comes from that makes you grow?

1. Listening,
2. Friends,
3. Failure...

In that order, don't stop listening and don't forget your friends while 
you fail...

Find musicians as friends, listen to their music, not necessarily to 
their words... (don't listen to me...;-)

Stefan

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

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To: "'Michael Peters'" <mp@mpeters.de>,
	"'Loopers Delight'" <Loopers-Delight@loopers-delight.com>
Subject: RE: Aarset-BitRMan-Kornstad
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Nice!

Two Summers (three?) ago I had the pleasure of seeing Nils-Petter =
Molvaer at
Central Park's Summerstage in NYC. Eivind was an integral part of the =
band,
playing his thing...the band was groovin' a heavy beat, samples, etc. =
and
Nils was at his finest.

Well, about a 1/2 hour into the performance, I see the sidestage =
personnel
making the "cut, cut" gesture to the entire band, like it was time to =
"wrap
it up" and bring on the next band. The 'next band' was Sex Mob, who are =
from
NYC and can probably play there any given night! My friends and I were =
like
"what the fuck?!?!?"=20
This guy and his band come all the way from Norway to play a handful of
gigs, and they're giving him the axe!!!=20

Anyway, while the music lasted we were smiling from ear-to-ear. Amazing
players, those ECM guys!!!!

Ed in NJ

=20

-----Original Message-----
From: Michael Peters [mailto:mp@mpeters.de]=20
Sent: Friday, December 05, 2008 6:06 AM
To: Loopers Delight
Subject: Aarset-BitRMan-Kornstad

I saw Eivind Aarset's group live yesterday ... he continues to amaze and
inspire me like no other guitarist at the moment ... what a wonderful =
gig!

As usual he used Ableton Live, so did his drummer, effortlessly morphing
from a free improvisation to a groove that suddenly contained =
prerecorded
sounds and melodies ... for his guitar playing, Aarset used a very wide
range of sounds, from utterly tweaked and distorted to breathtakingly
beautiful. I lo-res-photographed his setup after the show ... on the =
table
from left to right: a Moogerfooger, a ZVex effect - but which one? -, an
Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some
more fuzz boxes ... don't recognize them, anyone?

http://www.veloopity.de/temp/DSC00015.JPG
http://www.veloopity.de/temp/DSC00018.JPG

I wonder if it could have been his Alesis BitRMan that occasionally =
produced
those intentionally completely distorted sounds (which I've also heard =
from
NiN before I think) - as if some input was cranked up way beyond normal
distortion, so much that the sound gets interrupted ... does anyone know
what I mean and how this is done?

Does any of the guitarists here use the Bitrman with interesting =
results?
all the online demos are done with techno rhythm machines ...

One nice discovery for me on this evening was saxophone player H=E5kon
Kornstad (http://de.youtube.com/watch?v=3D3u0tCpG5vPE) who played an =
extensive
solo set before he played with the Aarset trio - he uses playing =
techniques
that I have never heard before from a saxophone, and he loops with a
repeater. Ever since the days of Terry Riley and Dickie Landry, I love
saxophone loops!


Michael
www.michaelpeters.de

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yeah, i've seen NPM a couple of times too. once was at the Marquee in London
which provided some of the recordings for the Streamer album. absolutely
awesome

On Fri, Dec 5, 2008 at 4:59 PM, ejyuhas <ejyuhas@embarqmail.com> wrote:

> Nice!
>
> Two Summers (three?) ago I had the pleasure of seeing Nils-Petter Molvaer
> at
> Central Park's Summerstage in NYC.

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yeah, i&#39;ve seen NPM a couple of times too. once was at the Marquee in London which provided some of the recordings for the Streamer album. absolutely awesome<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 4:59 PM, ejyuhas <span dir="ltr">&lt;<a href="mailto:ejyuhas@embarqmail.com">ejyuhas@embarqmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Nice!<br>
<br>
Two Summers (three?) ago I had the pleasure of seeing Nils-Petter Molvaer at<br>
Central Park&#39;s Summerstage in NYC.&nbsp;</blockquote></div>

------=_Part_49461_18529965.1228498204316--

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From: "Travis Hartnett" <travishartnett@gmail.com>
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Many of the Zvex boxes are the same size and have the same control layout as
the Fuzz Factory.

TH

On Fri, Dec 5, 2008 at 4:35 AM, Rick Walker <looppool@cruzio.com> wrote:

> Hey, I'm just loving Aarset's music as well, Per.............so jealous
> that you got a chance to see him.
>
> I'm actually in corespondance with him about possibly headling Y2K9 next
> year.
> Wish me luck!!!  If I can raise the dough ,  he's game to come.
>
> Also,  just because I just bought one,  I'm guessing that the
> ZVEX in his rig is the FUZZ FACTORY.    It's the exact same size as mine
> with the same box and button configuration.
>
>

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Many of the Zvex boxes are the same size and have the same control layout as the Fuzz Factory.<br>
<br>
TH<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 4:35 AM, Rick Walker <span dir="ltr">&lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hey, I&#39;m just loving Aarset&#39;s music as well, Per.............so jealous that you got a chance to see him.<br>
<br>
I&#39;m actually in corespondance with him about possibly headling Y2K9 next year.<br>
Wish me luck!!! &nbsp;If I can raise the dough , &nbsp;he&#39;s game to come.<br>
<br>
Also, &nbsp;just because I just bought one, &nbsp;I&#39;m guessing that the<br>
ZVEX in his rig is the FUZZ FACTORY. &nbsp; &nbsp;It&#39;s the exact same size as mine<br>
with the same box and button configuration.<br>
<br></blockquote></div><br>

------=_Part_24973_28616220.1228502397320--

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 18:59:23 2008
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Date: Fri, 5 Dec 2008 10:59:21 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: Aarset-BitRMan-Kornstad
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That's definitely a Fuzz Factory. Directly above it is a Korg tuner. I don'=
t know what that big metal box is, but if I had to guess, I would say it's =
a reverb tank assembly from an organ or somesuch.=0A=0A=0A=0A=0A___________=
_____________________=0AFrom: Travis Hartnett <travishartnett@gmail.com>=0A=
To: Loopers-Delight@loopers-delight.com=0ASent: Friday, December 5, 2008 10=
:39:57 AM=0ASubject: Re: Aarset-BitRMan-Kornstad=0A=0AMany of the Zvex boxe=
s are the same size and have the same control layout as the Fuzz Factory.=
=0A=0ATH=0A=0A=0AOn Fri, Dec 5, 2008 at 4:35 AM, Rick Walker <looppool@cruz=
io.com> wrote:=0A=0AHey, I'm just loving Aarset's music as well, Per.......=
......so jealous that you got a chance to see him.=0A=0AI'm actually in cor=
espondance with him about possibly headling Y2K9 next year.=0AWish me luck!=
!! =A0If I can raise the dough , =A0he's game to come.=0A=0AAlso, =A0just b=
ecause I just bought one, =A0I'm guessing that the=0AZVEX in his rig is the=
 FUZZ FACTORY. =A0 =A0It's the exact same size as mine=0Awith the same box =
and button configuration.=0A=0A=0A      
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><DIV>That's definitely a Fuzz Factory. Directly above it is a Korg tuner. I don't know what that big metal box is, but if I had to guess, I would say it's a reverb tank assembly from an organ or somesuch.<BR></DIV>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><BR>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><FONT face=Tahoma size=2>
<HR SIZE=1>
<B><SPAN style="FONT-WEIGHT: bold">From:</SPAN></B> Travis Hartnett &lt;travishartnett@gmail.com&gt;<BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> Loopers-Delight@loopers-delight.com<BR><B><SPAN style="FONT-WEIGHT: bold">Sent:</SPAN></B> Friday, December 5, 2008 10:39:57 AM<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re: Aarset-BitRMan-Kornstad<BR></FONT><BR>Many of the Zvex boxes are the same size and have the same control layout as the Fuzz Factory.<BR><BR>TH<BR><BR>
<DIV class=gmail_quote>On Fri, Dec 5, 2008 at 4:35 AM, Rick Walker <SPAN dir=ltr>&lt;<A href="mailto:looppool@cruzio.com" target=_blank rel=nofollow ymailto="mailto:looppool@cruzio.com">looppool@cruzio.com</A>&gt;</SPAN> wrote:<BR>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">Hey, I'm just loving Aarset's music as well, Per.............so jealous that you got a chance to see him.<BR><BR>I'm actually in corespondance with him about possibly headling Y2K9 next year.<BR>Wish me luck!!! &nbsp;If I can raise the dough , &nbsp;he's game to come.<BR><BR>Also, &nbsp;just because I just bought one, &nbsp;I'm guessing that the<BR>ZVEX in his rig is the FUZZ FACTORY. &nbsp; &nbsp;It's the exact same size as mine<BR>with the same box and button configuration.<BR><BR></BLOCKQUOTE></DIV><BR></DIV></DIV></div><br>

      </body></html>
--0-1039518282-1228503561=:36014--

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 19:07:43 2008
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Date: Fri, 5 Dec 2008 11:07:38 -0800
From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Aarset-BitRMan-Kornstad
Cc: Michael Peters <mp@mpeters.de>
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Wow!

What an amazing coincidence.

I just received Eivind's "Sonic Codex" CD in the mail yesterday and have be=
en enjoying it tremendously.

I highly recommend all of his solo discs as well as his efforts with Nils P=
etter Molvaer and with Jacek Kochan.

He's a refreshing new voice in my CD/iTunes collection that gets lots of pl=
ay.

Rick, what a coup if you could persuade him to come to Santa Cruz in '09!!!

I'd come down from Oregon just to be in the audience.

I'd be willing to help (modestly) sponsor financially (if need be).

Cheers,=20

tEd =C2=AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e intends to eat until he eats them. =E2=80=93 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

---- Michael Peters <mp@mpeters.de> wrote:=20
> I saw Eivind Aarset's group live yesterday ... he continues to amaze and
> inspire me like no other guitarist at the moment ... what a wonderful gig=
!
>=20
> As usual he used Ableton Live, so did his drummer, effortlessly morphing
> from a free improvisation to a groove that suddenly contained prerecorded
> sounds and melodies ... for his guitar playing, Aarset used a very wide
> range of sounds, from utterly tweaked and distorted to breathtakingly
> beautiful. I lo-res-photographed his setup after the show ... on the tabl=
e
> from left to right: a Moogerfooger, a ZVex effect - but which one? -, an
> Alesis BitRman, and a Boss Delay. On the floor the Line6 Looper and some
> more fuzz boxes ... don't recognize them, anyone?
>=20
> http://www.veloopity.de/temp/DSC00015.JPG=20
> http://www.veloopity.de/temp/DSC00018.JPG
>=20
> I wonder if it could have been his Alesis BitRMan that occasionally produ=
ced
> those intentionally completely distorted sounds (which I've also heard fr=
om
> NiN before I think) - as if some input was cranked up way beyond normal
> distortion, so much that the sound gets interrupted ... does anyone know
> what I mean and how this is done?
>=20
> Does any of the guitarists here use the Bitrman with interesting results?
> all the online demos are done with techno rhythm machines ...
>=20
> One nice discovery for me on this evening was saxophone player H=C3=A5kon
> Kornstad (http://de.youtube.com/watch?v=3D3u0tCpG5vPE) who played an exte=
nsive
> solo set before he played with the Aarset trio - he uses playing techniqu=
es
> that I have never heard before from a saxophone, and he loops with a
> repeater. Ever since the days of Terry Riley and Dickie Landry, I love
> saxophone loops!
>=20
>=20
> Michael
> www.michaelpeters.de
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 20:14:16 2008
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About the ZVex stomp boxes, Travis said:
"Many of the Zvex boxes are the same size and have the same control
layout as the Fuzz Factory."

I'm curious, Travis: which other ZVex effect has the same control
layout with five dials and one foot switch?


           Rainer

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 20:16:27 2008
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Date: Fri, 5 Dec 2008 12:16:25 -0800
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To: Loopers-Delight@loopers-delight.com
Subject: Performing with Multiple Looped Sections
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Hello.

I'm looking to finally invest in a looping system, but wanted some advice on
which hardware or software device would suit my needs.

I've seen numerous videos and performances throughout the years of people
looping. But I don't think I've ever seen someone use multiple loop sections
that transition from one to the next. Usually, the musician is looping the
same drumbeat and adding/subtracting instruments.

What I'd like to do is have loops that represent the verse, loops that
represent the chorus, loops that represent the bridge - and be able to
switch back and forth between the sections in real time, with the ability to
add/subtract sounds to each section.

Additionally, a device with multiple outputs is preferred, so that the house
PA can mix the signals properly... unless there's another workaround I'm not
thinking of.

Any help/advice/suggestions will be appreciated.

Thanks
- Steven

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Hello.<br><br>I&#39;m looking to finally invest in a looping system, but wanted some advice on which hardware or software device would suit my needs.<br><br>I&#39;ve seen numerous videos and performances throughout the years of people looping. But I don&#39;t think I&#39;ve ever seen someone use multiple loop sections that transition from one to the next. Usually, the musician is looping the same drumbeat and adding/subtracting instruments. <br>
<br>What I&#39;d like to do is have loops that represent the verse, loops that represent the chorus, loops that represent the bridge - and be able to switch back and forth between the sections in real time, with the ability to add/subtract sounds to each section.<br>
<br>Additionally, a device with multiple outputs is preferred, so that the house PA can mix the signals properly... unless there&#39;s another workaround I&#39;m not thinking of.<br><br>Any help/advice/suggestions will be appreciated.<br>
<br>Thanks<br>- Steven<br>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 20:19:03 2008
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From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Performing with Multiple Looped Sections
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I use an EDP for that.  Of course, you have to build up the sections in real
time.  Were you wanting to bring some canned loops with you and them
integrate those into a peformance with some overdubs?  It only has one
output though.  What signals are you wanting independent control over?

TH

On Fri, Dec 5, 2008 at 12:16 PM, Steven K <makemusic44@gmail.com> wrote:

> Hello.
>
> I'm looking to finally invest in a looping system, but wanted some advice
> on which hardware or software device would suit my needs.
>
> I've seen numerous videos and performances throughout the years of people
> looping. But I don't think I've ever seen someone use multiple loop sections
> that transition from one to the next. Usually, the musician is looping the
> same drumbeat and adding/subtracting instruments.
>
> What I'd like to do is have loops that represent the verse, loops that
> represent the chorus, loops that represent the bridge - and be able to
> switch back and forth between the sections in real time, with the ability to
> add/subtract sounds to each section.
>
> Additionally, a device with multiple outputs is preferred, so that the
> house PA can mix the signals properly... unless there's another workaround
> I'm not thinking of.
>
> Any help/advice/suggestions will be appreciated.
>
> Thanks
> - Steven
>

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I use an EDP for that.&nbsp; Of course, you have to build up the sections in real time.&nbsp; Were you wanting to bring some canned loops with you and them integrate those into a peformance with some overdubs?&nbsp; It only has one output though.&nbsp; What signals are you wanting independent control over?<br>
<br>TH<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 12:16 PM, Steven K <span dir="ltr">&lt;<a href="mailto:makemusic44@gmail.com">makemusic44@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hello.<br><br>I&#39;m looking to finally invest in a looping system, but wanted some advice on which hardware or software device would suit my needs.<br><br>I&#39;ve seen numerous videos and performances throughout the years of people looping. But I don&#39;t think I&#39;ve ever seen someone use multiple loop sections that transition from one to the next. Usually, the musician is looping the same drumbeat and adding/subtracting instruments. <br>

<br>What I&#39;d like to do is have loops that represent the verse, loops that represent the chorus, loops that represent the bridge - and be able to switch back and forth between the sections in real time, with the ability to add/subtract sounds to each section.<br>

<br>Additionally, a device with multiple outputs is preferred, so that the house PA can mix the signals properly... unless there&#39;s another workaround I&#39;m not thinking of.<br><br>Any help/advice/suggestions will be appreciated.<br>

<br>Thanks<br><font color="#888888">- Steven<br>
</font></blockquote></div><br>

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Well, dip me in shit, there is only one with five and one.  All the others I
was thinking of have six or four knobs.

TH

On Fri, Dec 5, 2008 at 12:14 PM, Rainer Straschill <moinsound@googlemail.com
> wrote:

> About the ZVex stomp boxes, Travis said:
> "Many of the Zvex boxes are the same size and have the same control
> layout as the Fuzz Factory."
>
> I'm curious, Travis: which other ZVex effect has the same control
> layout with five dials and one foot switch?
>
>
>           Rainer
>
>

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Well, dip me in shit, there is only one with five and one.&nbsp; All the others I was thinking of have six or four knobs.<br><br>TH<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 12:14 PM, Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com">moinsound@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">About the ZVex stomp boxes, Travis said:<br>
&quot;Many of the Zvex boxes are the same size and have the same control<br>
layout as the Fuzz Factory.&quot;<br>
<br>
I&#39;m curious, Travis: which other ZVex effect has the same control<br>
layout with five dials and one foot switch?<br>
<font color="#888888"><br>
<br>
 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Rainer<br>
<br>
</font></blockquote></div><br>

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I do just that with my RC-50 :)

-- 
Kayla's website: http://www.kaylakavanagh.com
MySpace: http://www.myspace.com/kaylakavanagh
FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk

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I do just that with my RC-50 :)<br clear="all"><br>-- <br>Kayla&#39;s website: <a href="http://www.kaylakavanagh.com">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh">http://www.myspace.com/kaylakavanagh</a><br>
FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk">http://www.kaleidoscope-design.co.uk</a><br>


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Ableton Live. Many many many more options are available to you.



> I do just that with my RC-50 :)
>
> -- 
> Kayla's website: http://www.kaylakavanagh.com
> MySpace: http://www.myspace.com/kaylakavanagh
> FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
> Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk


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<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
Ableton Live. Many many many more options are available to you.<div><br></div><div><br><div><br class="Apple-interchange-newline"><blockquote type="cite">I do just that with my RC-50 :)<br clear="all"><br>-- <br>Kayla's website: <a href="http://www.kaylakavanagh.com">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh">http://www.myspace.com/kaylakavanagh</a><br> FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk">http://www.kaleidoscope-design.co.uk</a><br> </blockquote></div><br></div></body></html>
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> What I'd like to do is have loops that represent the verse, loops that represent the chorus,
> loops that represent the bridge - and be able to switch back and forth between the sections
> in real time, with the ability to add/subtract sounds to each section.

Steven,

in today's world of looping toys, the former only device which did
this - the EDP - has a few other devices at its side which can do
that. A first check would be to look into Per's comparison chart
http://www.looproom.com/looperchart.php and find those with more than
one in the "max number of loops" column.

As Travis mentioned, a problem with the approach you're after might be
that the first time you visit each section of the song, you have to
build it in realtime, which may or may not be possible using the
approach you're using (I understand you want to use a more song-based
approach, not subtle transitions in a kind of ambient soundscape, so I
will explain focusing on that). There are some "shortcuts" to make
that possible.
One is to reuse some parts in different sections, and, say, use some
kind of post-loop processing to change them. For that, you'd need a
looper which offers multiple tracks ("multiple loops in parallel" in
Per's chart), as well as multiple outputs (which you already
mentioned). So with that, you could e.g. have a bass line for the
verse on one track, and then use a combination of (perhaps
pattern-sequencer-controlled) pitch shifter and transient designer to
change it for the chorus.

Another one is to start recording the next part (e.g. the chorus)
while the last part (e.g. verse) still plays. So you could already
record the guitar part for the chorus (and the guitar only goes to the
looper and is not sent to the FOH - requires you use and amp modeler
'tho') while the loop for the verse is still playing and you sing on
top (and not record the singing in the loop).

The third one is to use arrangements that do not focus on the
multi-instrumentalist/multi-part/overdub aspect of looping - without
explaining too much of it, I urge you check that fabulous live
recording of Andre LaFosse which I just rediscovered and which has
been on heavy rotation with me ever since -
http://www.altruistmusic.com/nyc3.html
(* This last recommendation also goes to everyone else here *)

Device-wise, I know that with Mobius (software) you can do everything
to that regard you're looking for which can be done. Ableton Live is
really good if you never ever want to a) overdub/fadeout a loop, b)
start a loop without defining the tempo/meter first - but then, you
can use Mobius for these specific cases. The EDP offers only a limited
aspect of what you might need (no parallel loops, no multi outs
consequently). The Repeater might be better for you to that specific
regard if you can find one - plus, it has good per-track pitch
shifting. Then there's the Looperlative, which I believe can do what
you ask for, but you better ask Bob or Rick or Bill (does it have
pitch shift functionality, btw?).

Just in case you wonder, for the "big stuff", I use Mobius running in
Live (but only use Live as a computerized mixing console/VST host).

                    Rainer

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Obviously, my opinion is biased, but the Looperlative LP1 is well suited =
for this purpose.  If you make use of recording different instruments =
into different tracks, then you can use the auxilliary outputs to send =
the different parts to your mixing board.  Of course, you could also =
control the independent track levels within the LP1.

Like the EDP, you would have to build up the different sections live.

Bob Amstadt
Looperlative Audio Products
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<DIV><FONT face=3DArial size=3D2>Obviously, my opinion is biased, but =
the=20
Looperlative LP1 is well suited for this purpose.&nbsp; If you make use =
of=20
recording different instruments into different tracks, then you can use =
the=20
auxilliary outputs to send the different parts to your mixing =
board.&nbsp; Of=20
course, you could also control the independent track levels within the=20
LP1.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Like the EDP, you would have to build =
up the=20
different sections live.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Bob Amstadt</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Looperlative Audio=20
Products</FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 20:51:46 2008
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Subject: Re: Performing with Multiple Looped Sections
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> you ask for, but you better ask Bob or Rick or Bill (does it have
> pitch shift functionality, btw?).

The LP1 has pitch shift in the same way that a tape delay does.  The track 
speed can be altered which will also have a corresponding pitch shift.  If 
you want pitch shift independent of track speed, my suggestion would be to 
get an external device and send tracks that are to be shifted to one of the 
auxilliary outputs.  There are some wonderful pitch shift effects out there 
that would make a great pairing with the LP1.

Bob Amstadt
Looperlative Audio Products 

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 21:58:58 2008
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To: Loopers-Delight@loopers-delight.com
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I've done that on an EDP and on a Repeater. Today I do it all the time
on a laptop that runs the freeware looper Mobius. The soon-to-come
software EDP will also do that.

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Fri, Dec 5, 2008 at 9:16 PM, Steven K <makemusic44@gmail.com> wrote:
> Hello.
>
> I'm looking to finally invest in a looping system, but wanted some advice on
> which hardware or software device would suit my needs.
>
> I've seen numerous videos and performances throughout the years of people
> looping. But I don't think I've ever seen someone use multiple loop sections
> that transition from one to the next. Usually, the musician is looping the
> same drumbeat and adding/subtracting instruments.
>
> What I'd like to do is have loops that represent the verse, loops that
> represent the chorus, loops that represent the bridge - and be able to
> switch back and forth between the sections in real time, with the ability to
> add/subtract sounds to each section.
>
> Additionally, a device with multiple outputs is preferred, so that the house
> PA can mix the signals properly... unless there's another workaround I'm not
> thinking of.
>
> Any help/advice/suggestions will be appreciated.
>
> Thanks
> - Steven
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 22:38:44 2008
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From: Chris Sewell <midifriedchicken@comcast.net>
Subject: Re: Performing with Multiple Looped Sections
Date: Fri, 5 Dec 2008 17:38:41 -0500
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What?  "the software EDP"?
On Dec 5, 2008, at 4:58 PM, Per Boysen wrote:

> I've done that on an EDP and on a Repeater. Today I do it all the time
> on a laptop that runs the freeware looper Mobius. The soon-to-come
> software EDP will also do that.
>
> --  
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 5, 2008 at 9:16 PM, Steven K <makemusic44@gmail.com>  
> wrote:
>> Hello.
>>
>> I'm looking to finally invest in a looping system, but wanted some  
>> advice on
>> which hardware or software device would suit my needs.
>>
>> I've seen numerous videos and performances throughout the years of  
>> people
>> looping. But I don't think I've ever seen someone use multiple  
>> loop sections
>> that transition from one to the next. Usually, the musician is  
>> looping the
>> same drumbeat and adding/subtracting instruments.
>>
>> What I'd like to do is have loops that represent the verse, loops  
>> that
>> represent the chorus, loops that represent the bridge - and be  
>> able to
>> switch back and forth between the sections in real time, with the  
>> ability to
>> add/subtract sounds to each section.
>>
>> Additionally, a device with multiple outputs is preferred, so that  
>> the house
>> PA can mix the signals properly... unless there's another  
>> workaround I'm not
>> thinking of.
>>
>> Any help/advice/suggestions will be appreciated.
>>
>> Thanks
>> - Steven
>>
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 22:39:35 2008
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Mathias is working on a software version.  That's about all the info that's
available.

On Fri, Dec 5, 2008 at 2:38 PM, Chris Sewell
<midifriedchicken@comcast.net>wrote:

> What?  "the software EDP"?
>
>
>

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Mathias is working on a software version.&nbsp; That&#39;s about all the info that&#39;s available.<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 2:38 PM, Chris Sewell <span dir="ltr">&lt;<a href="mailto:midifriedchicken@comcast.net">midifriedchicken@comcast.net</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">What? &nbsp;&quot;the software EDP&quot;?<div><div></div><div class="Wj3C7c"><br><br>
</div></div></blockquote></div><br>

------=_Part_28122_16518563.1228516774426--

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Date: Fri, 5 Dec 2008 23:45:07 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
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On Fri, Dec 5, 2008 at 11:38 PM, Chris Sewell
<midifriedchicken@comcast.net> wrote:
> What?  "the software EDP"?
> On Dec 5, 2008, at 4:58 PM, Per Boysen wrote:
>
>> I've done that on an EDP and on a Repeater. Today I do it all the time
>> on a laptop that runs the freeware looper Mobius. The soon-to-come
>> software EDP will also do that.
>>
>> -- Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>> On Fri, Dec 5, 2008 at 9:16 PM, Steven K <makemusic44@gmail.com> wrote:
>>>
>>> Hello.
>>>
>>> I'm looking to finally invest in a looping system, but wanted some advice
>>> on
>>> which hardware or software device would suit my needs.
>>>
>>> I've seen numerous videos and performances throughout the years of people
>>> looping. But I don't think I've ever seen someone use multiple loop
>>> sections
>>> that transition from one to the next. Usually, the musician is looping
>>> the
>>> same drumbeat and adding/subtracting instruments.
>>>
>>> What I'd like to do is have loops that represent the verse, loops that
>>> represent the chorus, loops that represent the bridge - and be able to
>>> switch back and forth between the sections in real time, with the ability
>>> to
>>> add/subtract sounds to each section.
>>>
>>> Additionally, a device with multiple outputs is preferred, so that the
>>> house
>>> PA can mix the signals properly... unless there's another workaround I'm
>>> not
>>> thinking of.
>>>
>>> Any help/advice/suggestions will be appreciated.
>>>
>>> Thanks
>>> - Steven
>>>
>>
>
>



-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 22:49:02 2008
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Date: Fri, 5 Dec 2008 14:43:24 -0800
From: "Steven K" <makemusic44@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Performing with Multiple Looped Sections
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Thank you all for your suggestions.

Travis, my plan is to come onto the stage with a blank slate and start
recording loops on the spot. I understand certain sections would have a
major dropoff in noise and intensity if I begin a new section from scratch,
but I have some plans in mind (not to mention Rainer's suggestions - which I
think are very clever) to make the performance feel natural.

As far as independent signal control, I'm trying to figure out how to send
each instrument's signal separately to the house PA system, so that the live
mixer can mix the guitar, the bass, the drums, etc. on separate channels of
his board. I think using software would lend me the greatest flexibility cuz
I can add any audio interface I want to my computer, but Bob's LP-1 is also
a great option with the 2 stereo aux outs. Am I spot on with this
assessment?

Using Ableton Live, as Chris and Rainer mentioned, is also an option I've
been looking into. Mobius seems to be getting a lot of love - I briefly
looked into that program, as well as Augustus Loop. Looks like I'll have to
research Mobius a bit more. Any additional resources or tips you guys can
send my way with regards to using Mobius within Live?

Per, that's a great comparison chart by the way. I'm glad Rainer provided me
the link. I'm trying to tread softly here with my questions, since I'm very
new to looping and my questions have probably been addressed in the past
(I've been digging through the mailing list archives but it's not the
easiest database to search through). That software EDP sounds very
interesting.

Lastly, now that I know my biggest concern about separate looping sections
can actually work, I'm wondering which devices lend itself well to multiple
MIDI foot controllers. I'd like one foot controller to be next to the drum
set, another up in front of the stage, etc. so that I have quick access to
controlling the loops and playback. Would all the mentioned devices be able
to perform this way?

I'm starting to regret not picking up a couple of EDPs when it was on
clearance a while back.

Thanks again.



On Fri, Dec 5, 2008 at 1:58 PM, Per Boysen <perboysen@gmail.com> wrote:

> I've done that on an EDP and on a Repeater. Today I do it all the time
> on a laptop that runs the freeware looper Mobius. The soon-to-come
> software EDP will also do that.
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 5, 2008 at 9:16 PM, Steven K <makemusic44@gmail.com> wrote:
> > Hello.
> >
> > I'm looking to finally invest in a looping system, but wanted some advice
> on
> > which hardware or software device would suit my needs.
> >
> > I've seen numerous videos and performances throughout the years of people
> > looping. But I don't think I've ever seen someone use multiple loop
> sections
> > that transition from one to the next. Usually, the musician is looping
> the
> > same drumbeat and adding/subtracting instruments.
> >
> > What I'd like to do is have loops that represent the verse, loops that
> > represent the chorus, loops that represent the bridge - and be able to
> > switch back and forth between the sections in real time, with the ability
> to
> > add/subtract sounds to each section.
> >
> > Additionally, a device with multiple outputs is preferred, so that the
> house
> > PA can mix the signals properly... unless there's another workaround I'm
> not
> > thinking of.
> >
> > Any help/advice/suggestions will be appreciated.
> >
> > Thanks
> > - Steven
> >
>
>

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Thank you all for your suggestions.<br><br>Travis, my plan is to come onto the stage with a blank slate and start recording loops on the spot. I understand certain sections would have a major dropoff in noise and intensity if I begin a new section from scratch, but I have some plans in mind (not to mention Rainer&#39;s suggestions - which I think are very clever) to make the performance feel natural.<br>

<br>As far as independent signal control, I&#39;m trying to figure out how to send each instrument&#39;s signal separately to the house PA system, so that the live mixer can mix the guitar, the bass, the drums, etc. on separate channels of his board. I think using software would lend me the greatest flexibility cuz I can add any audio interface I want to my computer, but Bob&#39;s LP-1 is also a great option with the 2 stereo aux outs. Am I spot on with this assessment?<br>

<br>Using Ableton Live, as Chris and Rainer mentioned, is also an option I&#39;ve been looking into. Mobius seems to be getting a lot of love - I briefly looked into that program, as well as Augustus Loop. Looks like I&#39;ll have to research Mobius a bit more. Any additional resources or tips you guys can send my way with regards to using Mobius within Live?<br>

<br>Per, that&#39;s a great comparison chart by the way. I&#39;m glad Rainer provided me the link. I&#39;m trying to tread softly here with my questions, since I&#39;m very new to looping and my questions have probably been addressed in the past (I&#39;ve been digging through the mailing list archives but it&#39;s not the easiest database to search through). That software EDP sounds very interesting.<br>

<br>Lastly, now that I know my biggest concern about separate looping sections can actually work, I&#39;m wondering which devices lend itself well to multiple MIDI foot controllers. I&#39;d like one foot controller to be next to the drum set, another up in front of the stage, etc. so that I have quick access to controlling the loops and playback. Would all the mentioned devices be able to perform this way?<br>
<br>I&#39;m starting to regret not picking up a couple of EDPs when it was on clearance a while back.<br><br>Thanks again.<br><br><br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 1:58 PM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com" target="_blank">perboysen@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I&#39;ve done that on an EDP and on a Repeater. Today I do it all the time<br>
on a laptop that runs the freeware looper Mobius. The soon-to-come<br>
software EDP will also do that.<br>
<font color="#888888"><br>
--<br>
Greetings from Sweden<br>
<br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
</font><div><div></div><div><br>
<br>
<br>
On Fri, Dec 5, 2008 at 9:16 PM, Steven K &lt;<a href="mailto:makemusic44@gmail.com" target="_blank">makemusic44@gmail.com</a>&gt; wrote:<br>
&gt; Hello.<br>
&gt;<br>
&gt; I&#39;m looking to finally invest in a looping system, but wanted some advice on<br>
&gt; which hardware or software device would suit my needs.<br>
&gt;<br>
&gt; I&#39;ve seen numerous videos and performances throughout the years of people<br>
&gt; looping. But I don&#39;t think I&#39;ve ever seen someone use multiple loop sections<br>
&gt; that transition from one to the next. Usually, the musician is looping the<br>
&gt; same drumbeat and adding/subtracting instruments.<br>
&gt;<br>
&gt; What I&#39;d like to do is have loops that represent the verse, loops that<br>
&gt; represent the chorus, loops that represent the bridge - and be able to<br>
&gt; switch back and forth between the sections in real time, with the ability to<br>
&gt; add/subtract sounds to each section.<br>
&gt;<br>
&gt; Additionally, a device with multiple outputs is preferred, so that the house<br>
&gt; PA can mix the signals properly... unless there&#39;s another workaround I&#39;m not<br>
&gt; thinking of.<br>
&gt;<br>
&gt; Any help/advice/suggestions will be appreciated.<br>
&gt;<br>
&gt; Thanks<br>
&gt; - Steven<br>
&gt;<br>
<br>
</div></div></blockquote></div><br>

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Date: Fri, 5 Dec 2008 15:09:20 -0800
From: "Steven K" <makemusic44@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Performing with Multiple Looped Sections
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Per, I received a blank e-mail from you. Wasn't sure if your message was
accidently deleted or not.
I'd love to hear your thoughts and suggestions when you get a chance. Do you
run Mobius on its own or within a host program like Live? And do you have
any knowledge of how well it runs on a Mac?

Thanks
- Steven

On Fri, Dec 5, 2008 at 2:45 PM, Per Boysen <perboysen@gmail.com> wrote:

> On Fri, Dec 5, 2008 at 11:38 PM, Chris Sewell
> <midifriedchicken@comcast.net> wrote:
> > What?  "the software EDP"?
> > On Dec 5, 2008, at 4:58 PM, Per Boysen wrote:
> >
> >> I've done that on an EDP and on a Repeater. Today I do it all the time
> >> on a laptop that runs the freeware looper Mobius. The soon-to-come
> >> software EDP will also do that.
> >>
> >> -- Greetings from Sweden
> >>
> >> Per Boysen
> >> www.boysen.se (Swedish)
> >> www.looproom.com (international)
> >> www.ubetoo.com/Artist.taf?_ArtistId=6550
> >>
> >>
> >>
> >> On Fri, Dec 5, 2008 at 9:16 PM, Steven K <makemusic44@gmail.com> wrote:
> >>>
> >>> Hello.
> >>>
> >>> I'm looking to finally invest in a looping system, but wanted some
> advice
> >>> on
> >>> which hardware or software device would suit my needs.
> >>>
> >>> I've seen numerous videos and performances throughout the years of
> people
> >>> looping. But I don't think I've ever seen someone use multiple loop
> >>> sections
> >>> that transition from one to the next. Usually, the musician is looping
> >>> the
> >>> same drumbeat and adding/subtracting instruments.
> >>>
> >>> What I'd like to do is have loops that represent the verse, loops that
> >>> represent the chorus, loops that represent the bridge - and be able to
> >>> switch back and forth between the sections in real time, with the
> ability
> >>> to
> >>> add/subtract sounds to each section.
> >>>
> >>> Additionally, a device with multiple outputs is preferred, so that the
> >>> house
> >>> PA can mix the signals properly... unless there's another workaround
> I'm
> >>> not
> >>> thinking of.
> >>>
> >>> Any help/advice/suggestions will be appreciated.
> >>>
> >>> Thanks
> >>> - Steven
> >>>
> >>
> >
> >
>
>
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>

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Per, I received a blank e-mail from you. Wasn&#39;t sure if your message was accidently deleted or not. <br>I&#39;d love to hear your thoughts and suggestions when you get a chance. Do you run Mobius on its own or within a host program like Live? And do you have any knowledge of how well it runs on a Mac?<br>
<br>Thanks<br>- Steven<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 2:45 PM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div><div></div><div class="Wj3C7c">On Fri, Dec 5, 2008 at 11:38 PM, Chris Sewell<br>
&lt;<a href="mailto:midifriedchicken@comcast.net">midifriedchicken@comcast.net</a>&gt; wrote:<br>
&gt; What? &nbsp;&quot;the software EDP&quot;?<br>
&gt; On Dec 5, 2008, at 4:58 PM, Per Boysen wrote:<br>
&gt;<br>
&gt;&gt; I&#39;ve done that on an EDP and on a Repeater. Today I do it all the time<br>
&gt;&gt; on a laptop that runs the freeware looper Mobius. The soon-to-come<br>
&gt;&gt; software EDP will also do that.<br>
&gt;&gt;<br>
&gt;&gt; -- Greetings from Sweden<br>
&gt;&gt;<br>
&gt;&gt; Per Boysen<br>
&gt;&gt; <a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
&gt;&gt; <a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
&gt;&gt; <a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt; On Fri, Dec 5, 2008 at 9:16 PM, Steven K &lt;<a href="mailto:makemusic44@gmail.com">makemusic44@gmail.com</a>&gt; wrote:<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; Hello.<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; I&#39;m looking to finally invest in a looping system, but wanted some advice<br>
&gt;&gt;&gt; on<br>
&gt;&gt;&gt; which hardware or software device would suit my needs.<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; I&#39;ve seen numerous videos and performances throughout the years of people<br>
&gt;&gt;&gt; looping. But I don&#39;t think I&#39;ve ever seen someone use multiple loop<br>
&gt;&gt;&gt; sections<br>
&gt;&gt;&gt; that transition from one to the next. Usually, the musician is looping<br>
&gt;&gt;&gt; the<br>
&gt;&gt;&gt; same drumbeat and adding/subtracting instruments.<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; What I&#39;d like to do is have loops that represent the verse, loops that<br>
&gt;&gt;&gt; represent the chorus, loops that represent the bridge - and be able to<br>
&gt;&gt;&gt; switch back and forth between the sections in real time, with the ability<br>
&gt;&gt;&gt; to<br>
&gt;&gt;&gt; add/subtract sounds to each section.<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; Additionally, a device with multiple outputs is preferred, so that the<br>
&gt;&gt;&gt; house<br>
&gt;&gt;&gt; PA can mix the signals properly... unless there&#39;s another workaround I&#39;m<br>
&gt;&gt;&gt; not<br>
&gt;&gt;&gt; thinking of.<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; Any help/advice/suggestions will be appreciated.<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; Thanks<br>
&gt;&gt;&gt; - Steven<br>
&gt;&gt;&gt;<br>
&gt;&gt;<br>
&gt;<br>
&gt;<br>
<br>
<br>
<br>
--<br>
Greetings from Sweden<br>
<br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
</div></div></blockquote></div><br>

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Chris Sewell asked:
"This was also slightly ahead of my time, but maybe some of the older 
guys can explain what a show sounded like when all those Marshall stacks 
weren't just props like they are today. These days, everything goes 
through the PA. What did it sound like when only drums and vox went 
through the PA?

Well, as in lots of current instances,   the sound varied a lot.
I heard Cream play the San Jose Civic Auditorium and Jack Bruce's rig 
was so loud that it drowned out both Clapton
and Baker.........................the mix sucked.

I heard stack of Marhsall shows that sounded really good but honestly,  
it was mostly for show.

I heard that Eddie Van Halen had a Vox AC 30 back stage with a mic on it 
and a whole slew of dummy cabinets lining the stage.
Roadies told me he only used the AC30 but I don't know if that's true or 
not.

One of the salient changes in modern 'big bin' sound mixing is the 
advent of really high wattage available for subsonic speakers.

I dont just think I"m being an old fart by saying that this trend has 
really greatly hurt live sound at big concerts.

It's gotten so that every single mixer at bin shows feels like the bass 
drum has to be as gigantic as possible and take up as much
frequency range as possible in the bass and subbass frequencies.

The last Cure concert I attended (and like them or lump them,  they are 
a very good sounding arena rock band)  Simon Gallup's bass was
so 'subbed out'  that you couldn't hear the pitch in many of his 
lines.     Here's a guy who plays with a pick and uses a very trebly , 
cabley
sound high on the bass , frequently,  playing interlocking guitaristic 
lines that compliment Robert Smiths guitar arrangements.
His sound is intregal to the band.     All you could hear was the a rumble.

At the last Bjork concert,  my wife and I ,  sitting about 12 rows up 
and to the right of the stage,   left two thirds through the show 
because we were both
nauseated from the subsonics which just completely overwhelmed the mix.

It seems like big box mixers don't even travel around the venue and 
listen to the mix from different vantage points.

Bruce Springsteen (again,  I don't own a single album but he is so 
charastmatic and such a good rock performer that I've seen him 6 times)
used to do four hour sound checks.   He would have the band play and 
personally walk around the event center to all of the areas listening
to the mix and giving feedback to the live mixer.      His shows sounded 
like GOD!!!!!!

The thing that bothers me is that people seem so much more interested in 
power than they do in actually making the mix sound good.
I've seen dozens of big bin concerts (I"m a concert junky) in all styles 
of music that have sounded fantastic.
I rarely hear anything in that setting that sounds good anymore.    

The biggest culprit is the subsonic multiplication in my opinion.     I 
just hate it and have seen so many people use that over subbed sound in 
countless recent concerts.

I actually love bass.  I love subsonic bass, but there is such a thing 
as timbral masking........there is such a thing as having one element so 
loud that the other's are diminished by it.

I was so excited to finally see My Bloody Valentine in London.    The 
Bass guitar and the lead guitar were so loud that you could
NOT HEAR THE VOCALS.      They played one of their beautiful songs from 
years ago and it was three minutes before I realized what the song was.
In this case, the culprit was the mad genius Kevin Shields.  He 
purposefully wanted it as loud as it could possibly be.

The critic for the London Times said something to the effect that,   he 
couldn't hear the vocals, the songs or much of the drums but that it was 
a brilliant
concert just for the noise that Kevin Shields made.

I'm sorry but that's bullocks!!!!!

Okay, rant over (he says stepping off of his soapbox pa that DOESN'T 
have a subsonic in it)

Rick

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> - Never believe that you do not have inspiration.
> Inspiration is
> there, as always, inside you. Shut up and go find it!

really? do you shut up and find it every day? music,lyrics etc.
oh, you have to teach me that;-)



      

From Loopers-Delight-request@loopers-delight.com  Fri Dec  5 23:38:33 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
References: <4938F493.6030907@cruzio.com>
Subject: Re: Rain Down Fire by Ricky Graham
Date: Fri, 5 Dec 2008 23:38:33 -0000
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Thank you, Rick. That's very kind of you to say.

Ricky

----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 05, 2008 9:29 AM
Subject: Rain Down Fire by Rick Graham


> I'm doing a lot of emailing tonight
> and listening to tracks from the brand new release of
> Northern Irish live looping artist,  Ricky Graham,  "Rain Down Fire".
>
> I'm really thoroughly enjoying this record.   It's really sonicaly 
> sophisticated
> with really delicious choices of timbre in the excellent and professional 
> production.
>
> It's also really cool because Ricky has taken on several different styles 
> of
> pop music and made largely instrumental tracks.
>
> He goes from dreamy ambient-ish trip hop to industrial tracks to drum and 
> bass in a way
> that, amazingly,  all feels coherent despite large stylistic leaps.
>
> The biggest compliment I can give to this really wonderful outing
> by a young musician (currently doing his Masters Thesis on Live Looping, 
> by the way)
> is that these tracks would be fantastic tracks to add pop vocals to.
>
> In fact, it would be awesome if he were to do a follow up EP by giving 
> these
> tracks to some really good singer/songwriters and just have them write 
> lyrics
> and record them.   The tracks are just that good!
>
> Check it out.
>
> http://www.rickygraham.net/
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.14/1832 - Release 
> Date: 05/12/2008 09:57
>
> 

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 00:21:56 2008
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Date: Sat, 6 Dec 2008 01:21:54 +0100
From: "Per Boysen" <perboysen@gmail.com>
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On Sat, Dec 6, 2008 at 12:09 AM, Steven K <makemusic44@gmail.com> wrote:
> Per, I received a blank e-mail from you. Wasn't sure if your message was
> accidently deleted or not.


...the latest fashion in Social Networking! I'm so in...

;-)


> I'd love to hear your thoughts and suggestions when you get a chance. Do you
> run Mobius on its own or within a host program like Live?

Within a program not like Live: Plogue Bidule. The reasons for using
Bidule rather than Live are two: (1) I want to set the tempo by the
first loop I create - as opposed to having to start playing in the
tempo Live runs at (Live is a lousy slave mode tempo follower) - and
(2) I want to use the host as an "effect rack router/mixer" pre looper
and only tax the CPU with the effect chain I'm actually playing
through (while all others are muted until I call up another effect
chain). In my experience Bidule meets both these preferences better
than any other host. So far, this is happening in Windows XP, and it
is sort of my "plan B" backup looper.

My Plan A main looper is Mobius standalone in Mac OSX. I use Apple's
MainStage as my virtual effect rack that my instrument signal goes
into first. From MainStage it goes out through two physical stereo
busses, the main house PA line and a loop-back cable that feeds the
MainStage output back into the laptop and into the looper Mobuse. Then
the loops (not my direct signal) is added to the main house PA output.
So I'm actually running two standalone applications on the MacBook and
route the signal through the first one and into the next one.

When Mobius VST becomes available I may skip over MainSTage to build
something similar to that application in Bidule, to sort of repliicate
my Mobius VST/Bidule Windows XP setup. The reason for sticking with
Mac is because I like the plug-ins from SoundToys. com and from
Michael Norris and they are not available for Windows.

> And do you have
> any knowledge of how well it runs on a Mac?

Almost as good as the Windows version. Only two minor bad sides on Mac
so far: Sometimes when kicking in a script that is programmed to
launch on the next Cycle cusp the audio has a hick-up instead of
launching the script. But Moubius ain't stupid, he remembers his
precious task and launches the script on the next Cycle cusp - not at
all depressed by the fact that he is by then one Cycle late.  The
other down-side on Mac (so far, all this will be fixed soon I bet) is
that the circling Pacman radars that indicate the loop's position has
been replaced by pumping color bulbs on Mac - not as informative as
the original Windows graphic but definitely more trippy ;-)

-- 
Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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From: "Per Boysen" <perboysen@gmail.com>
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On Sat, Dec 6, 2008 at 12:23 AM, L.Angulo <labaloops@yahoo.com> wrote:
>
>> - Never believe that you do not have inspiration.
>> Inspiration is
>> there, as always, inside you. Shut up and go find it!
>
> really? do you shut up and find it every day? music,lyrics etc.
> oh, you have to teach me that;-)


Yes, and may the list be my witness!. Didn't I post a blank e-mail
five minutes ago? That's me shutting up to reconnect with my
Inspiration.

-- 
Greetings from Sweden

Per Boysen
(should have hit the bed hours ago goddammit)

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Date: Sat, 6 Dec 2008 01:33:29 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Rain Down Fire by Ricky Graham
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On Sat, Dec 6, 2008 at 12:38 AM, Ricky Graham
<rock.guitar.guru@btinternet.com> wrote:
> Thank you, Rick. That's very kind of you to say.
>
> Ricky

I must chime in with Ricky and thank Rick, but rather for pointing out
Ricky's Record. Ricky, will you notify the list when it's available
please?

per

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Thanks for the replies everyone.

Per, sorry, I have very little idea how to do most of what you said at
this point.

RP, in the tutorial they use arrangement view, which seems to be a lot
more flexible. however that requires me to drag clips one at a time
into their own tracks in arrangement view and then delete them when
done, a very awkward process. Is there a way to use the selection tool
in the sample edit area? (I looked in the manual but couldn't find
any).

Owen, it seems to me that would work well enough, except I can't
figure out how to do precise selection in the sample editor in session
view because it always snaps but never shows more than 1 beat
gridlines. If I disable loop, it lets me select precisely but doesn't
let me use lots of critical looping features.

Any other things I can try or should I turn to external tools?

Thanks everyone,
Nick

On Fri, Dec 5, 2008 at 3:13 AM, Owen Green <owen@owengreen.net> wrote:
> Hi Nick,
>
> In session view, if you right click in the clip once you've set your loop
> points, there's an option called 'crop sample'. This will create a new file
> that you can do what you wish with.
>
> hth
> Owen
>
> Nick wrote:
>>
>> hi everyone,
>>
>> I've been trying my darndest to slice short samples out of tracks in
>> ableton live and well...every method I know is terrible. I'm currently
>> using the method described in the tutorial where I drag the file to
>> the arrangement view and then zoom in and position the start and end
>> points of the clip or the loop and then repeat until I get it right.
>> The problem with this method for me is that it's slow and clumsy - I
>> see no reason why I shouldn't be able to zoom in a bit (in the sample
>> editor in session view), select the area I want, select a menu item or
>> similar and poof - there's a new sample that I can drag into impulse.
>> If someone could point me in the right direction for learning how to
>> do this in live (perhaps a good tutorial site), that would be great.
>
>
>

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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: slicing audio
Date: Fri, 5 Dec 2008 17:50:28 -0800
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Hi Nick


On Dec 5, 2008, at 4:50 PM, Nick wrote:

>  in the tutorial they use arrangement view, which seems to be a lot
> more flexible.

That's right, Arrangement view, if I don't use Live for a week I  
begin to lose the vocabulary.
:-)

> however that requires me to drag clips one at a time
> into their own tracks in arrangement view and then delete them when
> done, a very awkward process. Is there a way to use the selection tool
> in the sample edit area?


The sample area, afaik, is not really a waveform editor except for  
midi notes.
Are you trying to do this fast on the fly?
I was just thinking that the Arrangement view click/drag a least  
allows you to load Impulse without opening an external editor.

You might leave an external editor toggled open in Live and drag  
files to it for edit and then drag back to Live for insert.
Are you on a Mac?
There are tiny editors that might work without having to open huge  
audio software.
Here is a small Loop Editor:
feed://www.audiofile-engineering.com/support/appcasts/le/1/index.xml

Must be something similar for PC.

Sorry, I don't know of any fast and elegant way -- the mother of  
invention is calling to you.
:-)


regards

BobC



http://tinyurl.com/yt8f8j  set

http://www.youtube.com/tynego




From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 02:54:42 2008
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Subject: Re: slicing audio
From: Richard Atkinson <thetoyroom@charter.net>
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Hi Guys,

Been lurking, mostly.  Greets.

Owen,
If you use your method, and then go to 'edit' that sample in an outside
editor, you still get the original longer piece, corret?  I think that Nick
wants is actual hard samples to repurpose.  Ableton is really making a new
clip, not a new file.

Actually, I gave up trying to use Ableton as an editor for making smaller
samples of larger pieces, with the exception of in 'arrangement' view.  I
think you're right about the snapping is session view while the sample is in
warp mode...that always irritated me.

On my Mac, I use an audio editor, Amadeus.  Pretty functional and
straightforward.  Not very feature filled, but I don't need it to be.  I cut
my hard edits there.

Session view, double click clip to see sample editor
Right click on sample editor window, then choose
Manage sample File.
Click Edit in sample management window.
Edit in Amadeus, 'save as'.
Reimport into Ableton.

I really do like using the 'Header' above the file broswer to access drives,
folders and files directly and create favorites.  This helps me a lot while
file browsing for DJ'ing.  (www.5150fm.com, 8-10am PST, saturdays. I'm on
tomorrow am, c'mon by if you're chilling by the PC), but I've been using it
a lot for recent compositions I'm working on, to 'reimport' new shorter
samples of longer originals, edited by Amadeus, back into the flow of the
song.

It's been a bit of a relief, since I've never been impressed with Ableton's
hard editing...so I just gave up.  This method now works for me, and Amadeus
is my first Mac editor I've been able to get comfy with.  I never liked any
others much that I came across.

Rich

Www.myspace.com/asopaquemusic



On 12/5/08 4:50 PM, "Nick" <ParadoxQuine@gmail.com> wrote:

> Thanks for the replies everyone.
> 
> Per, sorry, I have very little idea how to do most of what you said at
> this point.
> 
> RP, in the tutorial they use arrangement view, which seems to be a lot
> more flexible. however that requires me to drag clips one at a time
> into their own tracks in arrangement view and then delete them when
> done, a very awkward process. Is there a way to use the selection tool
> in the sample edit area? (I looked in the manual but couldn't find
> any).
> 
> Owen, it seems to me that would work well enough, except I can't
> figure out how to do precise selection in the sample editor in session
> view because it always snaps but never shows more than 1 beat
> gridlines. If I disable loop, it lets me select precisely but doesn't
> let me use lots of critical looping features.
> 
> Any other things I can try or should I turn to external tools?
> 
> Thanks everyone,
> Nick
> 
> On Fri, Dec 5, 2008 at 3:13 AM, Owen Green <owen@owengreen.net> wrote:
>> Hi Nick,
>> 
>> In session view, if you right click in the clip once you've set your loop
>> points, there's an option called 'crop sample'. This will create a new file
>> that you can do what you wish with.
>> 
>> hth
>> Owen
>> 
>> Nick wrote:
>>> 
>>> hi everyone,
>>> 
>>> I've been trying my darndest to slice short samples out of tracks in
>>> ableton live and well...every method I know is terrible. I'm currently
>>> using the method described in the tutorial where I drag the file to
>>> the arrangement view and then zoom in and position the start and end
>>> points of the clip or the loop and then repeat until I get it right.
>>> The problem with this method for me is that it's slow and clumsy - I
>>> see no reason why I shouldn't be able to zoom in a bit (in the sample
>>> editor in session view), select the area I want, select a menu item or
>>> similar and poof - there's a new sample that I can drag into impulse.
>>> If someone could point me in the right direction for learning how to
>>> do this in live (perhaps a good tutorial site), that would be great.
>> 
>> 
>> 
> 


From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 03:01:33 2008
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Subject: Re: slicing audio
From: Richard Atkinson <thetoyroom@charter.net>
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OK, and also here's a toast to Hard Editing.  Cut the damn loop, label it,
and save a copy of it independent of the original, where you want it, and
where it's organized and able to be duplicated without the tether of the
mother program, which is susceptible to upgrades much faster than your
standard audio file formats are going to be.  Do you still have a song
'composed' of files/loops, that could be reassembled if you needed to
utilize another DAW to mix/record/assemble?

Anyway...

Then reimport the hard edit back into your program and let the mothership
have her way with it, get back into right brain mode and keep working.

I think I'm getting buzzed.  Hmmmm....

Night.

Rich


On 12/5/08 6:54 PM, "Richard Atkinson" <thetoyroom@charter.net> wrote:

> Hi Guys,
> 
> Been lurking, mostly.  Greets.
> 
> Owen,
> If you use your method, and then go to 'edit' that sample in an outside
> editor, you still get the original longer piece, corret?  I think that Nick
> wants is actual hard samples to repurpose.  Ableton is really making a new
> clip, not a new file.
> 
> Actually, I gave up trying to use Ableton as an editor for making smaller
> samples of larger pieces, with the exception of in 'arrangement' view.  I
> think you're right about the snapping is session view while the sample is in
> warp mode...that always irritated me.
> 
> On my Mac, I use an audio editor, Amadeus.  Pretty functional and
> straightforward.  Not very feature filled, but I don't need it to be.  I cut
> my hard edits there.
> 
> Session view, double click clip to see sample editor
> Right click on sample editor window, then choose
> Manage sample File.
> Click Edit in sample management window.
> Edit in Amadeus, 'save as'.
> Reimport into Ableton.
> 
> I really do like using the 'Header' above the file broswer to access drives,
> folders and files directly and create favorites.  This helps me a lot while
> file browsing for DJ'ing.  (www.5150fm.com, 8-10am PST, saturdays. I'm on
> tomorrow am, c'mon by if you're chilling by the PC), but I've been using it
> a lot for recent compositions I'm working on, to 'reimport' new shorter
> samples of longer originals, edited by Amadeus, back into the flow of the
> song.
> 
> It's been a bit of a relief, since I've never been impressed with Ableton's
> hard editing...so I just gave up.  This method now works for me, and Amadeus
> is my first Mac editor I've been able to get comfy with.  I never liked any
> others much that I came across.
> 
> Rich
> 
> Www.myspace.com/asopaquemusic
> 
> 
> 
> On 12/5/08 4:50 PM, "Nick" <ParadoxQuine@gmail.com> wrote:
> 
>> Thanks for the replies everyone.
>> 
>> Per, sorry, I have very little idea how to do most of what you said at
>> this point.
>> 
>> RP, in the tutorial they use arrangement view, which seems to be a lot
>> more flexible. however that requires me to drag clips one at a time
>> into their own tracks in arrangement view and then delete them when
>> done, a very awkward process. Is there a way to use the selection tool
>> in the sample edit area? (I looked in the manual but couldn't find
>> any).
>> 
>> Owen, it seems to me that would work well enough, except I can't
>> figure out how to do precise selection in the sample editor in session
>> view because it always snaps but never shows more than 1 beat
>> gridlines. If I disable loop, it lets me select precisely but doesn't
>> let me use lots of critical looping features.
>> 
>> Any other things I can try or should I turn to external tools?
>> 
>> Thanks everyone,
>> Nick
>> 
>> On Fri, Dec 5, 2008 at 3:13 AM, Owen Green <owen@owengreen.net> wrote:
>>> Hi Nick,
>>> 
>>> In session view, if you right click in the clip once you've set your loop
>>> points, there's an option called 'crop sample'. This will create a new file
>>> that you can do what you wish with.
>>> 
>>> hth
>>> Owen
>>> 
>>> Nick wrote:
>>>> 
>>>> hi everyone,
>>>> 
>>>> I've been trying my darndest to slice short samples out of tracks in
>>>> ableton live and well...every method I know is terrible. I'm currently
>>>> using the method described in the tutorial where I drag the file to
>>>> the arrangement view and then zoom in and position the start and end
>>>> points of the clip or the loop and then repeat until I get it right.
>>>> The problem with this method for me is that it's slow and clumsy - I
>>>> see no reason why I shouldn't be able to zoom in a bit (in the sample
>>>> editor in session view), select the area I want, select a menu item or
>>>> similar and poof - there's a new sample that I can drag into impulse.
>>>> If someone could point me in the right direction for learning how to
>>>> do this in live (perhaps a good tutorial site), that would be great.
>>> 
>>> 
>>> 
>> 
> 
> 


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Subject: bitrman (ineko)/sound in the good ole days...
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--0-12594043-1228539211=:73476
Content-Type: text/plain; charset=iso-8859-1
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thanks for posting those pics of Eivind Aarset's stage setup/pedals. fun to=
 see what innovative musicians are using out there now.
yes, i will 2nd if you want to get interesting filtered fuzz, the alessis i=
neko is a great little tool. i used mine extensively when i had it a few yr=
s ago-mine had the reverb and delay matrix' not working, but the filters an=
d other intersting bit reducing things worked fun for messing up sounds.
and i remember when the bitrman and all those other boxes went on clearance=
 and didn't sell a few yrs ago, probably should have bought one when they w=
ere cheap. oh well...
=A0
as for the "old days sound"....i don't know...i saw springsteen back in mar=
ch in omaha, and i thought the sound SUCKED!!!! it was way too loud,and jus=
t unpleasant to hear.
i saw him on tour for his 90's=A0 solo albums back in '94, and that was a G=
REAT concert.
and when i saw van halen in '86, the band sounded good, loud, but good, but=
 the vocals were all distorted, i wasn't sure if they were trying to compen=
sate for the loud amp sounds or what.
the funny thing, probably most live music i've heard in the last few yrs ha=
s been acoustic/singer/songwriter stuff, and usually the sound at those has=
 been great and intimate, but it's also simple guitar or piano w/ voice...i=
t seems rare that i've heard many bands lately that have a great sound live=
, it's probably more about inexperienced folks running the sound...
s---
ps-i will also say that when i get out my live hendrix dvds and watch them,=
 i'm amazed at the sound quality, and also hendrix' ability to harness what=
 he did live, he had no monitors, and what i've read pa's back in the 60's =
were nothing like pa's today, so the mix of sound i think is pretty amazing=
...but that could also just be that he was that good and knew what he was d=
oing....
pps-the other funny story i remember about live bands and sound in the 60's=
, this lady i used to work for 20 yrs ago, saw the beatles on their 1st ame=
rican tour (she was older than i, and was an early teen when they came). sh=
e saw them in big football stadium, she said the place was filled w/ teen g=
irls, you couldn't hear a thing (the vox amps not loud enough!) and all she=
 remembered from the concert was some girl behind her was so excited and cr=
azy when they came on, she leaped over a couple of rows of girls to get clo=
ser and broke her leg. guess that was the beatlemania hysteria.....=0A=0A=
=0A      
--0-12594043-1228539211=:73476
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>thanks for posting those pics of Eivind Aarset's stage setup/pedals. fun to see what innovative musicians are using out there now.</DIV>
<DIV>yes, i will 2nd if you want to get interesting filtered fuzz, the alessis ineko is a great little tool. i used mine extensively when i had it a few yrs ago-mine had the reverb and delay matrix' not working, but the filters and other intersting bit reducing things worked fun for messing up sounds.</DIV>
<DIV>and i remember when the bitrman and all those other boxes went on clearance and didn't sell a few yrs ago, probably should have bought one when they were cheap. oh well...</DIV>
<DIV>&nbsp;</DIV>
<DIV>as for the "old days sound"....i don't know...i saw springsteen back in march in omaha, and i thought the sound SUCKED!!!! it was way too loud,and just unpleasant to hear.</DIV>
<DIV>i saw him on tour for his 90's&nbsp; solo albums back in '94, and that was a GREAT concert.</DIV>
<DIV>and when i saw van halen in '86, the band sounded good, loud, but good, but the vocals were all distorted, i wasn't sure if they were trying to compensate for the loud amp sounds or what.</DIV>
<DIV>the funny thing, probably most live music i've heard in the last few yrs has been acoustic/singer/songwriter stuff, and usually the sound at those has been great and intimate, but it's also simple guitar or piano w/ voice...it seems rare that i've heard many bands lately that have a great sound live, it's probably more about inexperienced folks running the sound...</DIV>
<DIV>s---</DIV>
<DIV>ps-i will also say that when i get out my live hendrix dvds and watch them, i'm amazed at the sound quality, and also hendrix' ability to harness what he did live, he had no monitors, and what i've read pa's back in the 60's were nothing like pa's today, so the mix of sound i think is pretty amazing...but that could also just be that he was that good and knew what he was doing....</DIV>
<DIV>pps-the other funny story i remember about live bands and sound in the 60's, this lady i used to work for 20 yrs ago, saw the beatles on their 1st american tour (she was older than i, and was an early teen when they came). she saw them in big football stadium, she said the place was filled w/ teen girls, you couldn't hear a thing (the vox amps not loud enough!) and all she remembered from the concert was some girl behind her was so excited and crazy when they came on, she leaped over a couple of rows of girls to get closer and broke her leg. guess that was the beatlemania hysteria.....</DIV></td></tr></table><br>

      
--0-12594043-1228539211=:73476--

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 05:21:47 2008
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Date: Fri, 5 Dec 2008 21:21:46 -0800
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Thanks, Per, and everyone else for helping me out.

I just downloaded Mobius and got it running. I'm a bit overwhelmed to tell
you the truth - but very excited :) I think it could be exactly what I need.

I plan on spending some time with the manual and figuring things out. I'll
most likely run into some roadblocks along the way, so I hope you guys can
help me out if I run into trouble.

Thanks again!

- Steven

On Fri, Dec 5, 2008 at 4:21 PM, Per Boysen <perboysen@gmail.com> wrote:

> On Sat, Dec 6, 2008 at 12:09 AM, Steven K <makemusic44@gmail.com> wrote:
> > Per, I received a blank e-mail from you. Wasn't sure if your message was
> > accidently deleted or not.
>
>
> ...the latest fashion in Social Networking! I'm so in...
>
> ;-)
>
>
> > I'd love to hear your thoughts and suggestions when you get a chance. Do
> you
> > run Mobius on its own or within a host program like Live?
>
> Within a program not like Live: Plogue Bidule. The reasons for using
> Bidule rather than Live are two: (1) I want to set the tempo by the
> first loop I create - as opposed to having to start playing in the
> tempo Live runs at (Live is a lousy slave mode tempo follower) - and
> (2) I want to use the host as an "effect rack router/mixer" pre looper
> and only tax the CPU with the effect chain I'm actually playing
> through (while all others are muted until I call up another effect
> chain). In my experience Bidule meets both these preferences better
> than any other host. So far, this is happening in Windows XP, and it
> is sort of my "plan B" backup looper.
>
> My Plan A main looper is Mobius standalone in Mac OSX. I use Apple's
> MainStage as my virtual effect rack that my instrument signal goes
> into first. From MainStage it goes out through two physical stereo
> busses, the main house PA line and a loop-back cable that feeds the
> MainStage output back into the laptop and into the looper Mobuse. Then
> the loops (not my direct signal) is added to the main house PA output.
> So I'm actually running two standalone applications on the MacBook and
> route the signal through the first one and into the next one.
>
> When Mobius VST becomes available I may skip over MainSTage to build
> something similar to that application in Bidule, to sort of repliicate
> my Mobius VST/Bidule Windows XP setup. The reason for sticking with
> Mac is because I like the plug-ins from SoundToys. com and from
> Michael Norris and they are not available for Windows.
>
> > And do you have
> > any knowledge of how well it runs on a Mac?
>
> Almost as good as the Windows version. Only two minor bad sides on Mac
> so far: Sometimes when kicking in a script that is programmed to
> launch on the next Cycle cusp the audio has a hick-up instead of
> launching the script. But Moubius ain't stupid, he remembers his
> precious task and launches the script on the next Cycle cusp - not at
> all depressed by the fact that he is by then one Cycle late.  The
> other down-side on Mac (so far, all this will be fixed soon I bet) is
> that the circling Pacman radars that indicate the loop's position has
> been replaced by pumping color bulbs on Mac - not as informative as
> the original Windows graphic but definitely more trippy ;-)
>
> --
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>

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Thanks, Per, and everyone else for helping me out. <br><br>I just downloaded Mobius and got it running. I&#39;m a bit overwhelmed to tell you the truth - but very excited :) I think it could be exactly what I need. <br>I plan on spending some time with the manual and figuring things out. I&#39;ll most likely run into some roadblocks along the way, so I hope you guys can help me out if I run into trouble.<br>
<br>Thanks again!<br><br>- Steven<br><br><div class="gmail_quote">On Fri, Dec 5, 2008 at 4:21 PM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d">On Sat, Dec 6, 2008 at 12:09 AM, Steven K &lt;<a href="mailto:makemusic44@gmail.com">makemusic44@gmail.com</a>&gt; wrote:<br>
&gt; Per, I received a blank e-mail from you. Wasn&#39;t sure if your message was<br>
&gt; accidently deleted or not.<br>
<br>
<br>
</div>...the latest fashion in Social Networking! I&#39;m so in...<br>
<br>
;-)<br>
<div class="Ih2E3d"><br>
<br>
&gt; I&#39;d love to hear your thoughts and suggestions when you get a chance. Do you<br>
&gt; run Mobius on its own or within a host program like Live?<br>
<br>
</div>Within a program not like Live: Plogue Bidule. The reasons for using<br>
Bidule rather than Live are two: (1) I want to set the tempo by the<br>
first loop I create - as opposed to having to start playing in the<br>
tempo Live runs at (Live is a lousy slave mode tempo follower) - and<br>
(2) I want to use the host as an &quot;effect rack router/mixer&quot; pre looper<br>
and only tax the CPU with the effect chain I&#39;m actually playing<br>
through (while all others are muted until I call up another effect<br>
chain). In my experience Bidule meets both these preferences better<br>
than any other host. So far, this is happening in Windows XP, and it<br>
is sort of my &quot;plan B&quot; backup looper.<br>
<br>
My Plan A main looper is Mobius standalone in Mac OSX. I use Apple&#39;s<br>
MainStage as my virtual effect rack that my instrument signal goes<br>
into first. From MainStage it goes out through two physical stereo<br>
busses, the main house PA line and a loop-back cable that feeds the<br>
MainStage output back into the laptop and into the looper Mobuse. Then<br>
the loops (not my direct signal) is added to the main house PA output.<br>
So I&#39;m actually running two standalone applications on the MacBook and<br>
route the signal through the first one and into the next one.<br>
<br>
When Mobius VST becomes available I may skip over MainSTage to build<br>
something similar to that application in Bidule, to sort of repliicate<br>
my Mobius VST/Bidule Windows XP setup. The reason for sticking with<br>
Mac is because I like the plug-ins from SoundToys. com and from<br>
Michael Norris and they are not available for Windows.<br>
<div class="Ih2E3d"><br>
&gt; And do you have<br>
&gt; any knowledge of how well it runs on a Mac?<br>
<br>
</div>Almost as good as the Windows version. Only two minor bad sides on Mac<br>
so far: Sometimes when kicking in a script that is programmed to<br>
launch on the next Cycle cusp the audio has a hick-up instead of<br>
launching the script. But Moubius ain&#39;t stupid, he remembers his<br>
precious task and launches the script on the next Cycle cusp - not at<br>
all depressed by the fact that he is by then one Cycle late. &nbsp;The<br>
other down-side on Mac (so far, all this will be fixed soon I bet) is<br>
that the circling Pacman radars that indicate the loop&#39;s position has<br>
been replaced by pumping color bulbs on Mac - not as informative as<br>
the original Windows graphic but definitely more trippy ;-)<br>
<div><div></div><div class="Wj3C7c"><br>
--<br>
Greetings from Sweden<br>
<br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
</div></div></blockquote></div><br>

------=_Part_166508_21883307.1228540906901--

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 06:40:59 2008
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Date: Fri, 5 Dec 2008 22:40:58 -0800
From: Nick <ParadoxQuine@gmail.com>
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Thanks so much RP and Richard,

I'm trying to do the process quickly, but not necessarily on the fly.
I don't think I'll need to do it live, but I do need to do it fast, as
inspiration to me comes fast and fades fast if I don't grab hold of
the sounds in my mind. It sounds like using an external editor is what
I should do. Cost isn't a large issue for me, but speed and usability
are, so any recommendations? I will definitely try out Loop Editor as
well as Amadeus. I'm also going to take a look a recycle, even though
it hasn't been updated in quite a while, because I am a big fan of
propellerheads stuff.

Update: (not that I sent this before anyways) I just tried out amadeus
and it's fantastic. I chopped up the audio clip, saved it all to a
folder, and loaded it into ableton darn fast. I just may have to buy
this. The one thing that I wish it could do, however, is analyze a
sample or part of a sample in the way that recycle can (by looking at
the waveforms and setting markers at the beginning/end of each span of
time that seems like a discrete sound). I'd be very thankful to hear
of another program that could do that.

Thanks again for the Amadeus recommendation. As you put it, Amadeus
really is a comfortable program, and I was able to use it without
referencing help files both easily and quickly.

On Fri, Dec 5, 2008 at 5:50 PM, RP Collier <skeptikalist@gmail.com> wrote:
> Hi Nick
>
>
> On Dec 5, 2008, at 4:50 PM, Nick wrote:
>
>>  in the tutorial they use arrangement view, which seems to be a lot
>> more flexible.
>
> That's right, Arrangement view, if I don't use Live for a week I begin to
> lose the vocabulary.
> :-)
>
>> however that requires me to drag clips one at a time
>> into their own tracks in arrangement view and then delete them when
>> done, a very awkward process. Is there a way to use the selection tool
>> in the sample edit area?
>
>
> The sample area, afaik, is not really a waveform editor except for midi
> notes.
> Are you trying to do this fast on the fly?
> I was just thinking that the Arrangement view click/drag a least allows you
> to load Impulse without opening an external editor.
>
> You might leave an external editor toggled open in Live and drag files to it
> for edit and then drag back to Live for insert.
> Are you on a Mac?
> There are tiny editors that might work without having to open huge audio
> software.
> Here is a small Loop Editor:
> feed://www.audiofile-engineering.com/support/appcasts/le/1/index.xml
>
> Must be something similar for PC.
>
> Sorry, I don't know of any fast and elegant way -- the mother of invention
> is calling to you.
> :-)
>
>
> regards
>
> BobC
>
>
>
> http://tinyurl.com/yt8f8j  set
>
> http://www.youtube.com/tynego
>
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 06:50:27 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: learning
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brilliant Stefan!

www.myspace.com/luisangulocom


--- On Fri, 12/5/08, Stefan Tiedje <stefantiedje@googlemail.com> wrote:

> From: Stefan Tiedje <stefantiedje@googlemail.com>
> Subject: Re: learning
> To: Loopers-Delight@loopers-delight.com
> Date: Friday, December 5, 2008, 8:43 AM
> Raul Bonell schrieb:
> > where does the principal input comes from that makes
> you grow?
>=20
> 1. Listening,
> 2. Friends,
> 3. Failure...
>=20
> In that order, don't stop listening and don't
> forget your friends while you fail...
>=20
> Find musicians as friends, listen to their music, not
> necessarily to their words... (don't listen to me...;-)
>=20
> Stefan
>=20
> -- Les Ondes M=E9morielles----x-------
> --_____-----------|--------------
> --(_|_ ----|\-----|-----()-------
> -- _|_)----|-----()--------------
> ----------()----------TJ Shredder=0A=0A=0A      

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Hi Steven,
if mobius is a bit overwhelming and you prefer hardware you might want to look at this two:

http://www.boomerangmusic.com/Rang%20III.html
http://www.bossus.com/gear/productdetails.php?ProductId=772

Mobius is free,excellent and very flexible but if u have never looped with an Echoplex you will need a cup of coffee and patience,download the manual,print it out and take it step by step.Start with one single track set it for 4 loops(for your arrangement parts) and switch between them,that will make you happy for days!
cheers
Luis

www.myspace.com/luisangulocom


--- On Fri, 12/5/08, Steven K <makemusic44@gmail.com> wrote:

> From: Steven K <makemusic44@gmail.com>
> Subject: Re: Performing with Multiple Looped Sections
> To: Loopers-Delight@loopers-delight.com
> Date: Friday, December 5, 2008, 9:21 PM
> Thanks, Per, and everyone else for helping me out.
> 
> I just downloaded Mobius and got it running. I'm a bit
> overwhelmed to tell
> you the truth - but very excited :) I think it could be
> exactly what I need.
> 
> I plan on spending some time with the manual and figuring
> things out. I'll
> most likely run into some roadblocks along the way, so I
> hope you guys can
> help me out if I run into trouble.
> 
> Thanks again!
> 
> - Steven
> 
> On Fri, Dec 5, 2008 at 4:21 PM, Per Boysen
> <perboysen@gmail.com> wrote:
> 
> > On Sat, Dec 6, 2008 at 12:09 AM, Steven K
> <makemusic44@gmail.com> wrote:
> > > Per, I received a blank e-mail from you.
> Wasn't sure if your message was
> > > accidently deleted or not.
> >
> >
> > ...the latest fashion in Social Networking! I'm so
> in...
> >
> > ;-)
> >
> >
> > > I'd love to hear your thoughts and
> suggestions when you get a chance. Do
> > you
> > > run Mobius on its own or within a host program
> like Live?
> >
> > Within a program not like Live: Plogue Bidule. The
> reasons for using
> > Bidule rather than Live are two: (1) I want to set the
> tempo by the
> > first loop I create - as opposed to having to start
> playing in the
> > tempo Live runs at (Live is a lousy slave mode tempo
> follower) - and
> > (2) I want to use the host as an "effect rack
> router/mixer" pre looper
> > and only tax the CPU with the effect chain I'm
> actually playing
> > through (while all others are muted until I call up
> another effect
> > chain). In my experience Bidule meets both these
> preferences better
> > than any other host. So far, this is happening in
> Windows XP, and it
> > is sort of my "plan B" backup looper.
> >
> > My Plan A main looper is Mobius standalone in Mac OSX.
> I use Apple's
> > MainStage as my virtual effect rack that my instrument
> signal goes
> > into first. From MainStage it goes out through two
> physical stereo
> > busses, the main house PA line and a loop-back cable
> that feeds the
> > MainStage output back into the laptop and into the
> looper Mobuse. Then
> > the loops (not my direct signal) is added to the main
> house PA output.
> > So I'm actually running two standalone
> applications on the MacBook and
> > route the signal through the first one and into the
> next one.
> >
> > When Mobius VST becomes available I may skip over
> MainSTage to build
> > something similar to that application in Bidule, to
> sort of repliicate
> > my Mobius VST/Bidule Windows XP setup. The reason for
> sticking with
> > Mac is because I like the plug-ins from SoundToys. com
> and from
> > Michael Norris and they are not available for Windows.
> >
> > > And do you have
> > > any knowledge of how well it runs on a Mac?
> >
> > Almost as good as the Windows version. Only two minor
> bad sides on Mac
> > so far: Sometimes when kicking in a script that is
> programmed to
> > launch on the next Cycle cusp the audio has a hick-up
> instead of
> > launching the script. But Moubius ain't stupid, he
> remembers his
> > precious task and launches the script on the next
> Cycle cusp - not at
> > all depressed by the fact that he is by then one Cycle
> late.  The
> > other down-side on Mac (so far, all this will be fixed
> soon I bet) is
> > that the circling Pacman radars that indicate the
> loop's position has
> > been replaced by pumping color bulbs on Mac - not as
> informative as
> > the original Windows graphic but definitely more
> trippy ;-)
> >
> > --
> > Greetings from Sweden
> >
> > Per Boysen
> > www.boysen.se (Swedish)
> > www.looproom.com (international)
> > www.ubetoo.com/Artist.taf?_ArtistId=6550
> >
> >


      

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 07:40:39 2008
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> <makemusic44@gmail.com> wrote:
> > Per, I received a blank e-mail from you. Wasn't
> sure if your message was
> > accidently deleted or not.
> 
> 
> ...the latest fashion in Social Networking! I'm so
> in...
> 
> ;-)
> 
But Per i thought you had gone looking for inspiration!;-)
found anything?
Ses senare


      

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 07:53:38 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: Rain Down Fire by Ricky Graham
To: Loopers-Delight@loopers-delight.com
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Rick your music is awesome!can you tell us a little bit about the gear you are using live?
cheers
Luis
www.myspace.com/luisangulocom


--- On Fri, 12/5/08, Ricky Graham <rock.guitar.guru@btinternet.com> wrote:

> From: Ricky Graham <rock.guitar.guru@btinternet.com>
> Subject: Re: Rain Down Fire by Ricky Graham
> To: Loopers-Delight@loopers-delight.com
> Date: Friday, December 5, 2008, 3:38 PM
> Thank you, Rick. That's very kind of you to say.
> 
> Ricky
> 
> ----- Original Message ----- From: "Rick Walker"
> <looppool@cruzio.com>
> To: "LOOPERS DELIGHT (posting)"
> <Loopers-Delight@loopers-delight.com>
> Sent: Friday, December 05, 2008 9:29 AM
> Subject: Rain Down Fire by Rick Graham
> 
> 
> > I'm doing a lot of emailing tonight
> > and listening to tracks from the brand new release of
> > Northern Irish live looping artist,  Ricky Graham, 
> "Rain Down Fire".
> > 
> > I'm really thoroughly enjoying this record.  
> It's really sonicaly sophisticated
> > with really delicious choices of timbre in the
> excellent and professional production.
> > 
> > It's also really cool because Ricky has taken on
> several different styles of
> > pop music and made largely instrumental tracks.
> > 
> > He goes from dreamy ambient-ish trip hop to industrial
> tracks to drum and bass in a way
> > that, amazingly,  all feels coherent despite large
> stylistic leaps.
> > 
> > The biggest compliment I can give to this really
> wonderful outing
> > by a young musician (currently doing his Masters
> Thesis on Live Looping, by the way)
> > is that these tracks would be fantastic tracks to add
> pop vocals to.
> > 
> > In fact, it would be awesome if he were to do a follow
> up EP by giving these
> > tracks to some really good singer/songwriters and just
> have them write lyrics
> > and record them.   The tracks are just that good!
> > 
> > Check it out.
> > 
> > http://www.rickygraham.net/
> > 
> > 
> > 
> > 
> > -- No virus found in this incoming message.
> > Checked by AVG. Version: 7.5.552 / Virus Database:
> 270.9.14/1832 - Release Date: 05/12/2008 09:57
> > 
> >


      

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>  if i were to see an INEKO or a BITRMAN for sale or trade i would go for
it 
 
thanks Michael ... sounds good ... they don't seem to be sold here in
Germany right now, I'll have to wait for one to appear on eBay it seems ...
I've put it on the watch list 
 
-Michael P 

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face=3DArial><FONT=20
size=3D2><SPAN class=3D937465907-06122008>&gt;&nbsp;</SPAN>&nbsp;if i =
were to see an=20
INEKO or a BITRMAN for sale or trade i would go for it<SPAN=20
class=3D937465907-06122008>&nbsp;</SPAN></FONT></FONT></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT FAMILY=3D"SANSSERIF"><FONT =
face=3DArial><FONT=20
size=3D2><SPAN =
class=3D937465907-06122008></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT FAMILY=3D"SANSSERIF"><FONT =
face=3DArial><FONT=20
size=3D2><SPAN class=3D937465907-06122008>thanks Michael ... sounds good =
... they=20
don't seem to be sold here in Germany right now, I'll have to wait for =
one to=20
appear on eBay it seems ... I've put it on the watch=20
list&nbsp;</SPAN></FONT></FONT></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT FAMILY=3D"SANSSERIF"><FONT =
face=3DArial><FONT=20
size=3D2><SPAN =
class=3D937465907-06122008></SPAN></FONT></FONT></FONT>&nbsp;</DIV>
<DIV dir=3Dltr align=3Dleft><FONT FAMILY=3D"SANSSERIF"><FONT =
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From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 09:53:50 2008
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Date: Sat, 6 Dec 2008 10:53:48 +0100
From: "mark francombe" <mark@markfrancombe.com>
Sender: markfrancombe@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: RE: My Bloody Valentine Re: Sound Back in the Day was Re: ART Regular Output vs. Inspiration
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Rick said:
I was so excited to finally see My Bloody Valentine in London.    The Bass
guitar and the lead guitar were so loud that you could
NOT HEAR THE VOCALS.      They played one of their beautiful songs from
years ago and it was three minutes before I realized what the song was.
In this case, the culprit was the mad genius Kevin Shields.  He purposefull=
y
wanted it as loud as it could possibly be.

To be fair.. that IS EXACTLY what My Bloody Valentine sound like live... an=
d
always have.. I saw them maybe 25 times in the late 80=B4s and it didnt mat=
ter
where i saw them or what PA they were thru.. the sound was BAD. After a
while I accepted it.. and started to "GET INTO IT". Then THAT ALBUM... came
a long (they recorded it in the same studio as I was recording at the time,
just a different room, we got hints at what they were up to... We recorded
an album (Wings of Joy) and they recorded a hi hat pattern - in the toilet)
THAT ALBUM was so distorted and muffled and.. wait a minute.. is it wobbly?
That alot of people took it back to the shop (including my girlfriend at th=
e
time)... but after a while... "YOU GOT INTO IT!" And now of course its one
of the more important albums of the 90=B4s.
In about 93 just before they split up, I saw them in San Francisco... big
and famous... packed audience... sounded the same...
There are just some bands that dont seem to be able to get their tricky
sound out over a PA... and thats OK with me.





> Rick
>
>


--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Rick said:<br>I was so excited to finally see My Bloody Valentine in London=
. &nbsp; &nbsp;The
Bass guitar and the lead guitar were so loud that you could<br>
NOT HEAR THE VOCALS. &nbsp; &nbsp; &nbsp;They played one of their beautiful=
 songs from
years ago and it was three minutes before I realized what the song was.<br>
In this case, the culprit was the mad genius Kevin Shields. &nbsp;He purpos=
efully wanted it as loud as it could possibly be.<br><br><div class=3D"gmai=
l_quote">To be fair.. that IS EXACTLY what My Bloody Valentine sound like l=
ive... and always have.. I saw them maybe 25 times in the late 80=B4s and i=
t didnt matter where i saw them or what PA they were thru.. the sound was B=
AD. After a while I accepted it.. and started to &quot;GET INTO IT&quot;. T=
hen THAT ALBUM... came a long (they recorded it in the same studio as I was=
 recording at the time, just a different room, we got hints at what they we=
re up to... We recorded an album (Wings of Joy) and they recorded a hi hat =
pattern - in the toilet) THAT ALBUM was so distorted and muffled and.. wait=
 a minute.. is it wobbly? That alot of people took it back to the shop (inc=
luding my girlfriend at the time)... but after a while... &quot;YOU GOT INT=
O IT!&quot; And now of course its one of the more important albums of the 9=
0=B4s.<br>
In about 93 just before they split up, I saw them in San Francisco... big a=
nd famous... packed audience... sounded the same...<br>There are just some =
bands that dont seem to be able to get their tricky sound out over a PA... =
and thats OK with me.<br>
<br><br><br><br><blockquote class=3D"gmail_quote" style=3D"border-left: 1px=
 solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><=
font color=3D"#888888"><br>
Rick<br>
<br>
</font></blockquote></div><br><br clear=3D"all"><br>-- <br><a href=3D"http:=
//www.markfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://vim=
eo.com/user825094">http://vimeo.com/user825094</a><br><a href=3D"http://uk.=
youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a=
><br>
<a href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mar=
kfrancombe</a><br><a href=3D"http://www.looop.no">www.looop.no</a><br>

------=_Part_66426_6012563.1228557228936--

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 10:00:41 2008
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Subject: OT Re: Sound Back in the Day     was Re: ART Regular Output vs. Inspiration
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Rick says:
> One of the salient changes in modern 'big bin' sound mixing is the 
> advent of really high wattage available for subsonic speakers.
> 
> I dont just think I"m being an old fart by saying that this trend has 
> really greatly hurt live sound at big concerts.
> 

I think that the mistake us old farts make is to assume that a gig
is all about music, and that how it sounds is part of the reason 
to go to a gig.
Rather, I think that gigs today are about being there with a lot of other
people. 
Listen to how enthusiastic people are when there are
"lots of people" at the gig.
e.g. "It was a great night, lot's of people".

...and be aware that people come to our gigs, enjoy the music,
but often leave a bit disappointed because there weren't "enough people".

In some cultures, music is valued for it's own sake....not in ours.


andy butler (stayed home again)





From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 12:24:35 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: learning
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L.Angulo schrieb:
> really? do you shut up and find it every day? music,lyrics etc.
> oh, you have to teach me that;-)

finding isn't the problem, but shuting up is more difficult...

Meditation, a walk outside, just forgetting that here is a "problem" are 
methods to shut up, one needs to practice those though...
And don't forget to go back and implement the inspirations, that's also 
harder than finding...
(I am pretty bad at that, it isn't much help if you have millions of 
ideas and never transcend them into reality...)

Stefan

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 12:44:01 2008
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I totally agree with Andy on this one.  There seems to be a more
dramatically evident dichotomy between being a performer and being a
musician.  I see more and more over the last decade or so that many of
the great performers are less-than-spectacular musicians.

A good performer has charisma and stage presence and can sell snow to
Eskimos with nothing but ego.  It really doesn't matter what it sounds
like if the performer is good.  Even I, as critical as I am,
frequently fall prey to the seduction of a good performance.

Now, what's REALLLLLY COOOOOL is to find a great performer who is also
an amazing musician.........  There are very few of these that have
come out in the last five year.

-J

On Sat, Dec 6, 2008 at 1:04 PM, andy butler <akbutler@tiscali.co.uk> wrote:
> Rick says:
>>
>> One of the salient changes in modern 'big bin' sound mixing is the advent
>> of really high wattage available for subsonic speakers.
>>
>> I dont just think I"m being an old fart by saying that this trend has
>> really greatly hurt live sound at big concerts.
>>
>
> I think that the mistake us old farts make is to assume that a gig
> is all about music, and that how it sounds is part of the reason to go to a
> gig.
> Rather, I think that gigs today are about being there with a lot of other
> people. Listen to how enthusiastic people are when there are
> "lots of people" at the gig.
> e.g. "It was a great night, lot's of people".
>
> ...and be aware that people come to our gigs, enjoy the music,
> but often leave a bit disappointed because there weren't "enough people".
>
> In some cultures, music is valued for it's own sake....not in ours.
>
>
> andy butler (stayed home again)
>
>
>
>
>
>



-- 
---------------------------
(504) 613-0837
Skype: whsp3r
Chain Tape Profile: http://tinyurl.com/6ltw9p
Twitter Blog: http://www.twitter.com/jefflomas/
Cigar Wishlist: http://tinyurl.com/5u2scv

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 12:56:30 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: OT : fractal audio axe-fx ultra
Date: Sat, 6 Dec 2008 14:56:26 +0200
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hey,

i have seen some great review of the amp modular - fx unit fractal audio =
axe-fx ultra. if possible, i would like to buy that unit and use it both =
on stage and at studio. has anyone played this unit? is it a lot better =
then native instruments guitar rig? also can i get the effects that i =
can get on the eventide eclipse?

the list of things that i need to buy for the studio keeps getting =
longer and longer! i think i will contribute to the american economy =
significantly in march :)

thanks and best.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA_CDS/NA131/NA131.htm
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8
------=_NextPart_000_00D7_01C957B2.CFDFDDC0
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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 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>hey,</DIV>
<DIV>&nbsp;</DIV>
<DIV>i have seen some great review of the amp modular - fx unit fractal =
audio=20
axe-fx ultra. if possible, i would like to buy that unit and use it both =
on=20
stage and at studio. has anyone played this unit? is it a lot better =
then native=20
instruments guitar rig? also can i get the effects that i can get on the =

eventide eclipse?</DIV>
<DIV>&nbsp;</DIV>
<DIV>the list of things that i need to buy for the studio keeps getting =
longer=20
and longer! i think i will contribute to the american economy =
significantly in=20
march :)</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks and best.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is =
out on New=20
Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz=20
Magazine<BR><A=20
href=3D"http://www.newalbion.com/NA_CDS/NA131/NA131.htm">www.newalbion.co=
m/NA_CDS/NA131/NA131.htm</A><BR><A=20
href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000=
GFLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=
=3DUTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A=
/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF=
8</A></DIV></BODY></HTML>

------=_NextPart_000_00D7_01C957B2.CFDFDDC0--

From saniyusuf@eircom.net  Sat Dec  6 13:40:57 2008
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Subject: Re: slicing audio
Date: Sat, 6 Dec 2008 05:51:25 -0800
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On Dec 5, 2008, at 10:40 PM, Nick wrote:

>  The one thing that I wish it could do, however, is analyze a
> sample or part of a sample in the way that recycle can (by looking at
> the waveforms and setting markers at the beginning/end of each span of
> time that seems like a discrete sound). I'd be very thankful to hear
> of another program that could do that.

If you have a Mac, the program AudioFinder has a slicing function  
that will do that.
It is also a great audio file management tool.

regards


BobC



http://tinyurl.com/yt8f8j  set

http://www.youtube.com/tynego

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From: Stephen Scott <stevoj@yahoo.com>
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A couple of quick Q's for Echoplex users.

First of all a general question;
1.  Does anyone have any general hints or tips to help preserve EDP memory.  In particular, I've been working up a little piece that involves a couple of loops running, and towards the end, I need to UNDO all of one of the loops, to strip it back to the original loop.  However, I'm finding that I run out of UNDO's with several layers remaining.  Admittedly, I am using quite a lot of layers (about 8-10, approx 10 second loop), but that is the nature of this piece.  I'm using a Gibson Echoplex with Loop4 firmware and full 198 seconds of loop memory.

Next, a more specific question, that shows my complete ignorance of all things MIDI.  
2.  I'm thinking of getting a FCB1010 to use with my EDP. I'd like to be able to assign different INSERT button functions (eg, SUS, INSERT, Replace etc) to different 1010 buttons.  Is this possible? How does this happen ? does it require the insert function to be set up in one of the EDP presets, then that preset is called by the FCB. If so, does it occur instantaneously, or is there is the same lag when loading up a new EDP preset manually.  Or is there some other cleverer way to do this.

thanks,

Stephen


      

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 14:36:07 2008
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Subject: RE: My Bloody Valentine
Date: Sat, 6 Dec 2008 06:34:40 -0800
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Mark Francombe wrote, about My Bloody Valentine:

"To be fair.. that IS EXACTLY what My Bloody Valentine sound like live... and always have.. I saw them 
maybe 25 times in the late 80´s and it didnt matter where i saw them or what PA they were thru.. 
the sound was BAD. After a while I accepted it.. and started to "GET INTO IT". Then THAT ALBUM... 
came a long (they recorded it in the same studio as I was recording at the time, just a different 
room, we got hints at what they were up to... We recorded an album (Wings of Joy) and they recorded 
a hi hat pattern - in the toilet) THAT ALBUM was so distorted and muffled and.. wait a minute.. is it 
wobbly? That alot of people took it back to the shop (including my girlfriend at the time)... but after 
a while... "YOU GOT INTO IT!" And now of course its one of the more important albums of the 90´s.
In about 93 just before they split up, I saw them in San Francisco... big and famous... packed 
audience... sounded the same...
There are just some bands that dont seem to be able to get their tricky sound out over a PA... and 
thats OK with me."


 I can appreciate that,  Mark, but I had the opposite experience.   I never saw that band in the day 
and 
I was so blown away by the music on those brilliant and quirky records.

There, of course,  have been bands that never got it right live and I can respect that.   I had a very 
popular regional new wave band in the 80's and we just never could capture what we did live on 
vinyl so it can go both ways.

but what I loved about MBV was the fact that not only did Shields achieve this amazing guitar sound 
that had the sonic energy of punk and yet had nothing to do with it's form but also had real 
pristine and soft energy as well, with the melodies created in the interplay of the guitar and the 
vocals.

It was the interplay between those two elements that made them have an enormous impact on me 
(and also a delight in trying to figure out just how the fuck he had achieved that sound----was it 
the manipulation of samples of his guitar playing or judicious and incredible use of a whammy bar--
--was it hundreds of overdubs or just the production manipulation of a few..........all these things 
not only intrigued me, but they sent me scurrying around trying to duplicate it or, better yet,  to try 
experiments in my own head that would be as exciting just for being exposed to them.

I've heard a lot of bands work with the sheer sonic energy of loud volume, noise, feedback , etc. 
as their primary mode of expression (Sonic Youth certainly comes to mind but any number of other 
and less famous noise projects.

What made MBV stand out in my mind was that he had this experimental , dissonant noise sensibility 
married to a beautiful lyricism............that was what was rare and to me , so sublime about the band.

So, unfortunately (and lucky you that you had the chance) i just don't have the luxury to go see them 
a dozen times to 'get use to his live aesthetic'.

Also,  the crowd in London was NOT getting it either from everything I could see and for the number 
of people I talked with outside of the venue.

The sound was crap and it was very, very painfully loud (and I'm no wuss when it comes to 
volume.......I'm a really loud drummer when I want to be---people have complained <blush>)

I guess my point is,  if that's what he wanted,   it would have been more honest to say,  
We're going to play with two incredibly loud guitarists and an even louder bassist..........fuck the 
singers and the drummer.........fuck trying to reproduce the 'hits'   of twenty years before.

At least I could have taken it on his terms.

As it was,  we did something we never thought we'd see ourselves do (that is, Chris, my wife who is 
also a fan, and I)    we walked out and enjoyed the balmy London, England evening and took in the 
local goth club.






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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: Rain Down Fire by Ricky Graham
Date: Sat, 6 Dec 2008 14:42:02 -0000
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Per, I will certainly let everyone know when it is being released. I'm just 
waiting to hear back on a release date at the moment. It will definetly be 
available on iTunes shortly.

Luis, I had been using Ableton to trigger simple loops synced to the EDP 
with Reason running some nice subtle synths in ReWire. Now that I have my 
RME Fireface, i'm running automation clips to process melodic lines in 
real-time. (a'la Christopher Willits if you haven't checked him out already 
you really should) I'm keeping it loose using randomising the follow actions 
too. I'm using this approach with my new trio, and I hope to get more 
material recorded in early 2009.

Thanks very much for your interest!

Ricky


----- Original Message ----- 
From: "L.Angulo" <labaloops@yahoo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, December 06, 2008 7:53 AM
Subject: Re: Rain Down Fire by Ricky Graham


> Rick your music is awesome!can you tell us a little bit about the gear you 
> are using live?
> cheers
> Luis
> www.myspace.com/luisangulocom
>
>
> --- On Fri, 12/5/08, Ricky Graham <rock.guitar.guru@btinternet.com> wrote:
>
>> From: Ricky Graham <rock.guitar.guru@btinternet.com>
>> Subject: Re: Rain Down Fire by Ricky Graham
>> To: Loopers-Delight@loopers-delight.com
>> Date: Friday, December 5, 2008, 3:38 PM
>> Thank you, Rick. That's very kind of you to say.
>>
>> Ricky
>>
>> ----- Original Message ----- From: "Rick Walker"
>> <looppool@cruzio.com>
>> To: "LOOPERS DELIGHT (posting)"
>> <Loopers-Delight@loopers-delight.com>
>> Sent: Friday, December 05, 2008 9:29 AM
>> Subject: Rain Down Fire by Rick Graham
>>
>>
>> > I'm doing a lot of emailing tonight
>> > and listening to tracks from the brand new release of
>> > Northern Irish live looping artist,  Ricky Graham,
>> "Rain Down Fire".
>> >
>> > I'm really thoroughly enjoying this record.
>> It's really sonicaly sophisticated
>> > with really delicious choices of timbre in the
>> excellent and professional production.
>> >
>> > It's also really cool because Ricky has taken on
>> several different styles of
>> > pop music and made largely instrumental tracks.
>> >
>> > He goes from dreamy ambient-ish trip hop to industrial
>> tracks to drum and bass in a way
>> > that, amazingly,  all feels coherent despite large
>> stylistic leaps.
>> >
>> > The biggest compliment I can give to this really
>> wonderful outing
>> > by a young musician (currently doing his Masters
>> Thesis on Live Looping, by the way)
>> > is that these tracks would be fantastic tracks to add
>> pop vocals to.
>> >
>> > In fact, it would be awesome if he were to do a follow
>> up EP by giving these
>> > tracks to some really good singer/songwriters and just
>> have them write lyrics
>> > and record them.   The tracks are just that good!
>> >
>> > Check it out.
>> >
>> > http://www.rickygraham.net/
>> >
>> >
>> >
>> >
>> > -- No virus found in this incoming message.
>> > Checked by AVG. Version: 7.5.552 / Virus Database:
>> 270.9.14/1832 - Release Date: 05/12/2008 09:57
>> >
>> >
>
>
>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG.
> Version: 7.5.552 / Virus Database: 270.9.15/1833 - Release Date: 
> 05/12/2008 19:08
>
> 

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Stephen Scott wrote:
> A couple of quick Q's for Echoplex users.
> 
> First of all a general question;
> 1.  Does anyone have any general hints or tips to help preserve EDP memory.  In particular, I've been working up a little piece that involves a couple of loops running, and towards the end, I need to UNDO all of one of the loops, to strip it back to the original loop.  However, I'm finding that I run out of UNDO's with several layers remaining.  Admittedly, I am using quite a lot of layers (about 8-10, approx 10 second loop), but that is the nature of this piece.  I'm using a Gibson Echoplex with Loop4 firmware and full 198 seconds of loop memory.

1)(which you already got, I'm sure) Set Moreloops as low as possible for the piece.
2) Make sure Overdub is off when you're not using it ( and leave feedback @ 100%),
    the EDP won't use up memory if you don't change the loop, it does something called
     AutoUndo.
3)As a last desperate measure, when you have the material that you want to end the piece with all sounding good, copy to the Next loop and then work on it there. So you can always get back
your loop by Nexting again




> 
> Next, a more specific question, that shows my complete ignorance of all things MIDI.  
> 2.  I'm thinking of getting a FCB1010 to use with my EDP. I'd like to be able to assign different INSERT button functions (eg, SUS, INSERT, Replace etc) to different 1010 buttons.  Is this possible? How does this happen ? does it require the insert function to be set up in one of the EDP presets, then that preset is called by the FCB. If so, does it occur instantaneously, or is there is the same lag when loading up a new EDP preset manually.  Or is there some other cleverer way to do this.

It *would* work the way you suggest. Changing preset is instantaneous apart from 8th/cycle values.
BUT
you can access all the different Insert functions directly from Midi.
( note, however, that those neat 8th replace tricks only work via the Insert button)

> thanks,
welcome

andy
> 
> Stephen
> 
> 
>       
> 
> 

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 15:29:56 2008
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Date: Sat, 06 Dec 2008 10:28:12 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #609 for December 4, 2008.
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http://wdiy.org/programs/gt/playlists/2008/081204.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 #609                December 4, 2008.

RECAP:
On this show, I started a month-long focus on the Tangerine Dream.  The
Featured CD at Midnight was Views From A Red Train on Eastgate Records.

Tangerine Dream:
http://wdiy.org/programs/gt/playlists/2008/focus.html#dec


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Free System Projekt  Narrow Lane part 1   Narrow Lane (none)
Mythos               S.S.O.-1             Surround Sound Offensive
                                            (none)
Max Corbacho         The Great Breath     BreathStream (ad21)
Tangerine Dream      Carmel Calif         Views From A Red Train
                                            (Eastgate)
Tangerine Dream      Passing All Signs    VFA Red Train (Eastgate)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Tangerine Dream      Leviathan            VFA Red Train (Eastgate)
Tangerine Dream      Hunter Shot By a     VFA Red Train (Eastgate)
                       Yellow Rabbit
Tangerine Dream      Nutshell Awakening   VFA Red Train (Eastgate)
Tangerine Dream      One Night In Space   VFA Red Train (Eastgate)
Tangerine Dream      Serpent Magique      VFA Red Train (Eastgate)
Tangerine Dream      Lord of the Ants     VFA Red Train (Eastgate)
Tangerine Dream      Fire On the Mountain VFA Red Train (Eastgate)
Tangerine Dream      Sound of a Shell     VFA Red Train (Eastgate)

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
Tangerine Dream.  The Featured CD at Midnight will be Tangram 2008 on
Eastgate Records.

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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
MySpace: http://myspace.com/galactictravels
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://war.str3am.com:7880/listen.pls
http://mysite.verizon.net/schlhserky/wdiystreamtests/hearwdiy.asx
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From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 17:03:15 2008
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Two new improvs, both apparently following a loose structure of
loop-creation-section followed by pitch-shift games with the just-recorded
material:

Two-Phase Nylon
Whistle<http://www.ubetoo.com/Index.taf?_PageId=7024&Title=Two-Phase-Nylon-Whistle&Artist=Warren-Sirota>


and (yet another) excursion whose starting point is a 16th-century 3/8 dance
rhythm:

Bransle Variations
3.2<http://www.ubetoo.com/Index.taf?_PageId=7029&Title=Bransle-Variations-3.2&Artist=Warren-Sirota>


Hope you enjoy,
Warren

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<br>Two new improvs, both apparently following a loose structure of loop-creation-section followed by pitch-shift games with the just-recorded material:<br><br><a href="http://www.ubetoo.com/Index.taf?_PageId=7024&amp;Title=Two-Phase-Nylon-Whistle&amp;Artist=Warren-Sirota">Two-Phase Nylon Whistle</a><br>
<br><br>and (yet another) excursion whose starting point is a 16th-century 3/8 dance rhythm:<br><br><a href="http://www.ubetoo.com/Index.taf?_PageId=7029&amp;Title=Bransle-Variations-3.2&amp;Artist=Warren-Sirota">Bransle Variations 3.2</a><br>
<br><br>Hope you enjoy,<br>Warren<br><br>

------=_Part_41237_39542.1228582994642--

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 18:01:38 2008
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Warren, great stuff! Lovely tone and development (and that awesome big 
drone at the end of "Bransle").

kudos,

Daryl Shawn
www.swanwelder.com
www.chinapaintingmusic.com
>
> Two new improvs, both apparently following a loose structure of 
> loop-creation-section followed by pitch-shift games with the 
> just-recorded material:
>
> Two-Phase Nylon Whistle 
> <http://www.ubetoo.com/Index.taf?_PageId=7024&Title=Two-Phase-Nylon-Whistle&Artist=Warren-Sirota>
>
>
> and (yet another) excursion whose starting point is a 16th-century 3/8 
> dance rhythm:
>
> Bransle Variations 3.2 
> <http://www.ubetoo.com/Index.taf?_PageId=7029&Title=Bransle-Variations-3.2&Artist=Warren-Sirota>
>
>
> Hope you enjoy,
> Warren

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 18:13:29 2008
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Thanks, Daryl. That drone was a fortunately-out-of-control delay feedback
setting.

On Sat, Dec 6, 2008 at 1:01 PM, Daryl Shawn <highhorse@mhorse.com> wrote:

> Warren, great stuff! Lovely tone and development (and that awesome big
> drone at the end of "Bransle").
>
> kudos,
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>>
>> Two new improvs, both apparently following a loose structure of
>> loop-creation-section followed by pitch-shift games with the just-recorded
>> material:
>>
>> Two-Phase Nylon Whistle <
>> http://www.ubetoo.com/Index.taf?_PageId=7024&Title=Two-Phase-Nylon-Whistle&Artist=Warren-Sirota
>> >
>>
>>
>> and (yet another) excursion whose starting point is a 16th-century 3/8
>> dance rhythm:
>>
>> Bransle Variations 3.2 <
>> http://www.ubetoo.com/Index.taf?_PageId=7029&Title=Bransle-Variations-3.2&Artist=Warren-Sirota
>> >
>>
>>
>> Hope you enjoy,
>> Warren
>>
>
>

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Thanks, Daryl. That drone was a fortunately-out-of-control delay feedback setting.<br><br><div class="gmail_quote">On Sat, Dec 6, 2008 at 1:01 PM, Daryl Shawn <span dir="ltr">&lt;<a href="mailto:highhorse@mhorse.com">highhorse@mhorse.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Warren, great stuff! Lovely tone and development (and that awesome big drone at the end of &quot;Bransle&quot;).<br>

<br>
kudos,<br>
<br>
Daryl Shawn<br>
<a href="http://www.swanwelder.com" target="_blank">www.swanwelder.com</a><br>
<a href="http://www.chinapaintingmusic.com" target="_blank">www.chinapaintingmusic.com</a><br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class="Ih2E3d">
<br>
Two new improvs, both apparently following a loose structure of loop-creation-section followed by pitch-shift games with the just-recorded material:<br>
<br></div>
Two-Phase Nylon Whistle &lt;<a href="http://www.ubetoo.com/Index.taf?_PageId=7024&amp;Title=Two-Phase-Nylon-Whistle&amp;Artist=Warren-Sirota" target="_blank">http://www.ubetoo.com/Index.taf?_PageId=7024&amp;Title=Two-Phase-Nylon-Whistle&amp;Artist=Warren-Sirota</a>&gt;<div class="Ih2E3d">
<br>
<br>
<br>
and (yet another) excursion whose starting point is a 16th-century 3/8 dance rhythm:<br>
<br></div>
Bransle Variations 3.2 &lt;<a href="http://www.ubetoo.com/Index.taf?_PageId=7029&amp;Title=Bransle-Variations-3.2&amp;Artist=Warren-Sirota" target="_blank">http://www.ubetoo.com/Index.taf?_PageId=7029&amp;Title=Bransle-Variations-3.2&amp;Artist=Warren-Sirota</a>&gt;<br>

<br>
<br>
Hope you enjoy,<br>
Warren<br>
</blockquote>
<br>
</blockquote></div><br>

------=_Part_42067_6360819.1228587208392--

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> Chris Sewell asked:
> "This was also slightly ahead of my time, but maybe some of the older 
> guys can explain what a show sounded like when all those Marshall stacks 
> weren't just props like they are today. These days, everything goes 
> through the PA. What did it sound like when only drums and vox went 
> through the PA?

I had just one experience as a listener I'll never forget. It was in the 
early eighties or late seventies, a concert in Berlin at the local 
University, and there where Bands I forgot about, but they played 
through the usual PA system, not bad I suppose. But as all the Rock 
concerts back then I though "Its way too loud, even if I like it" My 
ears hurt...
Then there came the headliner, a well known German rock band back then. 
They did not play through the PA, they had literally a wall of Marshalls 
behind them...
Man what a difference! They where at least three times as loud as the 
bands before, but this time it wasn't too loud, it was just pure 
energy... Wouldn't work for any other type of music though...

Stefan

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 18:59:22 2008
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From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Doctor T events in December
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Hi folks,

My "The Debate REWIRED" piece is in a Juried group show at 110 
Gallery in Lowell as described below. The show was excellent all 
around last year.

I'll be  performing at 119 with a very special jazz ensemble

Doctor T Video Improvisations

New Language Collaborative
Eric Zinman  Keyboard
Glynis Loman  Cello and voice
Syd Smart    Drums

  I'm looking forward to this one!

Suggested donation $10.

At 5:55 PM -0500 12/3/08, 119 Gallery wrote:
>4th Annual Juried Show
>
>Anxiety Attack: in these times, what makes you anxious?
>
>Tue Nov 25- Sat Dec 20, Reception Sun Dec 7, 3 p.m.
>
>The 4th Annual Juried Show draws art from all quarters- Lowell, 
>Boston, the North Shore, New Hampshire and Connecticut. Lured by the 
>theme: Anxiety Attack, they responded with a variety of perspectives 
>executed in a range of media. Their blending of old and new 
>techniques is seamless: Hosner's  digital prints feel like graphite, 
>Hegner's photograph belies its digital printing, and Jeffer's pop 
>image (our only fabric art this year) is as much an icon of the 20th 
>century as the 21st.
>
>Many personal demons hover in the gallery, while the general aura is 
>that of contemporary anxiety: a leeriness of consumerism, politics 
>and the media. Our human bodies are manifest, but surprisingly not 
>as ubiquitous obese passengers. Instead, our corporal nature is 
>strikingly represented by ethereal outlines. Hyun Ju Kim's False 
>Bodies  are creations made not with human hands (in the traditional 
>sense), but with computer models and laser etching.
>
>Anxiety is a  broad theme. What is one's fear is another's 
>excitement. What make one anxious can make another  aroused.The 
>essence of anxiety is the same as art. No one knows were it comes 
>from or why- it's just there.
>
>The winning artist of the juried show will be announced at the 
>reception on Dec 7. The winner will be awarded a solo show in the 
>gallery.


At 5:55 PM -0500 12/3/08, 119 Gallery wrote:
>About 119 Gallery
>
>119 Gallery promotes contemporary and new media art, innovative 
>ideas and cutting-edge techniques with a rich and diverse program of 
>exhibitions, performances and community-based arts services. We 
>welcome people of all ages, backgrounds and means to explore and 
>experience new, innovative art.
>
>119 Gallery
>119 Chelmsford St.
>Lowell, MA 01851
>978/452-8138
><http://rs6.net/tn.jsp?e=001FU68xV9S978PywB4FmsSV6Je1MjMgjcDnVrqAbZTer1p0t-SuBNyeMrpBlFEa66WEBHSkg-p40ir1tZ-oSXs0XcnlJBHBrcZG48HTs_Z9y0=>www.119gallery.org

-- 
My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

" Practice makes perfect, imperfect is better."  -- Paul Bley

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Message-ID: <66f9cc1e0812061118t2f8a7353pc9e7bf67222076e@mail.gmail.com>
Date: Sat, 6 Dec 2008 20:18:34 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Sound Back in the Day was Re: ART Regular Output vs. Inspiration
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Louder and better IMO. That is if the stage level balanced the PA well
and you had a good listening position in the room, with ear plugs in
place. With bad balancing the sound had too little definition. The
first loud concert I saw was Ted Nugent in 1970. I remember thinking
it was interesting but way too loud to be listenable. I also thought
the guy was too ridiculous to be watched, but stayed anyway to
experience the loud sound. Back then, at fifteen, I was into players
as Johnny Winter and Hendrix  that made some tonal sense with guitar
noise. Some years later I heard Focus and not only Jan Akkerman had a
wall of Marhalls but also Thijs Van Leer, who also had several stacked
Leslie cabinets behind him. His Hammond organ shook the ground but his
flute and falsetto singing, going through the PA, could not be heard
at all - except for during stops and breaks.

First time I heard a band play with he kick drum put through the PA I
thought it sounded fantastic! That night turned me into a kick drum
lover and after that I always made effortsin order to hear the kick
drum when playing with bands. Which wasn't always possible because
everyone rehearsed so loudly.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



>> Chris Sewell asked:
>> "This was also slightly ahead of my time, but maybe some of the older guys
>> can explain what a show sounded like when all those Marshall stacks weren't
>> just props like they are today. These days, everything goes through the PA.
>> What did it sound like when only drums and vox went through the PA?

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In a message dated 12/6/08 1:59:33 PM, emile@foryourhead.com writes:


> I'll be=A0 performing at 119 with a very special jazz ensemble
>=20

will this be videoed?.....please!



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and=20
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=3Dnew-d=
p&amp;
icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000010)

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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 12/6/08 1:59:33 PM, emile@foryourhead.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">I'll be=A0 performing=
 at 119 with a very special jazz ensemble<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">will this be videoed?.....please!<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 22:26:08 2008
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Scott Hansen wrote:
"as for the "old days sound"....i don't know...i saw springsteen back in 
march in omaha, and i thought the sound SUCKED!!!! it was way too 
loud,and just unpleasant to hear.i saw him on tour for his 90's  solo 
albums back in '94, and that was a GREAT concert."


You are soooo right, Scott.   I was really exhausted when I wrote that 
piece of vitriol about subsonics    but I had meant to say (and forgot 
to write) that I had just seen Springsteen and was horribly bummed out 
that the sound SUCKED!!!!     One of the culprits:    you guessed it,    
a stupidly over loud and over subbed  kick drum and bass guitar sound.I 
was so bummed as I had dragged a young student of mine to see the 
concert on the whole basis of ,  "Hey, you have to see a truly great 
rhythm section
in rock and roll who sound fantastic live."


The thing I"m finding just hilarious is the trend in drum sizes in the 
indie rock scene.      All the kids are hearing these huge subbed out 
kick drum sounds and they can't get anything resembling it 
acoustically,  so all the drum manufacturers are starting to sell 4 
piece kits with massive (and deep shelled , which increases subsonic 
mulitplication)
26" and 28"  inch kick drums.      You can make a properly tuned deep 
18" kick have a huge subsonic sound with a very long envelope through 
the use of
eq and subs....................Now these kids are playing kick drums 
that are impossible to get a tight sound out of.

Play some of those typical Bonham 16th note triplet double fills on kick 
when it's running through the typical sub woofed system and it sounds
completely unintelligble, rhythmically speaking.

Mind you,  Bonham used a 26" kick frequently (though not always despite 
rumors to the contrary) but there were no subs in the PAs in those days 
at all.

Arrrrgggggghhhhh!,  NEVER get me drunk and ask me about the subject,  I 
become ahorrible stereotypical loud bore on the subject.
Come to think of it,  I think I may be a horrible stereotypical bore on 
this subject completely sober (which I am 98% of the time)

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 22:40:05 2008
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Message-ID: <a8a60dc10812061440l2e7b54bej17015547f15cac27@mail.gmail.com>
Date: Sat, 6 Dec 2008 14:40:04 -0800
From: Nick <ParadoxQuine@gmail.com>
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awesome. thanks a bunch. I definitely have a mac - in fact, one of the
things to determine whether I'll use that program will be how mac-like
it is. trying now...

after fiddling around with audiofinder for a bit, it's definitely
good, and its automatic slicing feature was way cool, but the amount
of time it took me to slice 16 samples out of a full song was about
the same as amadeus, and I found amadeus much easier to interact with
quickly.

i fiddled with amadeus and used to learn its marker functions and it's
absolutely fantastic. i think i'll definitely be going with this.

thanks again for all your help guys!

On Sat, Dec 6, 2008 at 5:51 AM, RP Collier <skeptikalist@gmail.com> wrote:
>
> On Dec 5, 2008, at 10:40 PM, Nick wrote:
>
>>  The one thing that I wish it could do, however, is analyze a
>> sample or part of a sample in the way that recycle can (by looking at
>> the waveforms and setting markers at the beginning/end of each span of
>> time that seems like a discrete sound). I'd be very thankful to hear
>> of another program that could do that.
>
> If you have a Mac, the program AudioFinder has a slicing function that will
> do that.
> It is also a great audio file management tool.
>
> regards
>
>
> BobC
>
>
>
> http://tinyurl.com/yt8f8j  set
>
> http://www.youtube.com/tynego
>
>

From Loopers-Delight-request@loopers-delight.com  Sat Dec  6 22:43:19 2008
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Subject: SHITTY SOUND =  INNOVATION                                   ?
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Scott Hansen also wrote:
"pps-the other funny story i remember about live bands and sound in the 
60's, this lady i used to work for 20 yrs ago, saw the beatles on their 
1st american tour (she was older than i, and was an early teen when they 
came). she saw them in big football stadium, she said the place was 
filled w/ teen girls, you couldn't hear a thing (the vox amps not loud 
enough!) and all she remembered from the concert was some girl behind 
her was so excited and crazy when they came on, she leaped over a couple 
of rows of girls to get closer and broke her leg. guess that was the 
beatlemania hysteria....."

RINGO STARR

Yeah, it's cool that you mention that.    Ringo Starr,  it is shocking 
for some people to learn,  came up with a very unusual way of doing 
fills (think all the fills
in Abbey Road)  that was so influential that the Los Angeles mafia of 
drummers in the 70's   (Jim Gordon, Russ Kunkel and others including the 
80's studio drum legends)
based their playing off his approach.     If you know the record 'Sweet 
Baby James' , which was James Taylor's breakthrough commercial success 
in 1971 imagine all the drum fills in 'Fire and Rain'.   These are the 
types of fills that Ringo innovated.  They were very syncopated with a 
lot of space inbetween strokes and they frequently
occurred at unusual places in the song form (not always right before the 
chorus or bridge as is typical)

Ringo was, however,  not a very technically adept drummer.   He could 
only roll with the left hand leading as an example which is ass 
backwards viz a vis most
of the right handed rock and roll drumming that has occurred over the years.

In an interview one time,   he was asked how he developed such an 
idiosyncratic approach to filling and he replied that
when the Beatles toured the last time, that the PA was so terrible (and 
the drums WEREN'T miced in Shea Stadium if you can believe that)
and the screaming so loud that the Beatles had a horrible time 
performing because they just couldn't even hear themselves play.

He said the screaming was so ubiquitous that it would go on the whole 
time they would be playing.
Occasionally, however, the screaming would subside a little and he said 
he would just play a tom fill whenever that happened JUST TO BE ABLE
TO HEAR HIMSELF PLAY.

It was completely random.

SHITTY SOUND = INNOVATION

lol!   

I love it.


MAX ROACH

Another story of bad sound causing innovation was the famed modern jazz 
drummer/innovator Max Roach who was
credited with freeing the modern jazz drummer from the hegemony of 
having to play quite quarter notes along with the walking bass line.

I forget which record it was off the top of my head, but on one record 
the bass drum was suddenly just punctuating periodically and
not playing time as everyone had always done since the invention of jazz 
drumming.

When asked about that, he said that doing the sessions,  someone 
accidentally kicked over the bass drum microphone and noone noticed
till the end of the session.     Because the kicks were always played 
really softly (but definitely audibly) the only kick drums you heard
were when he would accent a particular phrase.    Well the overheads 
only picked up the bombs, leaving the quarter note ride inaudible.

The takes were so good that they decided not to retrack and the shit hit 
the fan as conservative jazz fans lambasted him for this
daring new style and all the young drummers worshipped at his feet for 
liberating them from the tyranny of always playing quarter notes.

SHITTY SOUND =  INNOVATION

<mutters as he wanders off contemplating how to turn horrible over 
subwoofed PA systems into some kind of innovation>

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Date: Sat, 06 Dec 2008 17:43:57 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Re: Doctor T events in December
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At 3:46 PM -0500 12/6/08, Nemoguitt@aol.com wrote:
>In a message dated 12/6/08 1:59:33 PM, emile@foryourhead.com writes:
>
>>I'll be  performing at 119 with a very special jazz ensemble
>>
>
>
>will this be videoed?.....please!

Depends on whether someone gives me an audio feed.

>
>
>
>"EVERYTHING YOU KNOW IS WRONG".....firesign theater
>
>new groovy tunes at:
>http://www.myspace.com/klobuchar10
>www.ct-collective.com
>
>
>
>
>
>**************
>Make your life easier with all your friends, email, and favorite 
>sites in one place. Try it now. 
>(http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom00000010)


-- 

		Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer	Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets."  -- Tom Lehrer

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Date: Sat, 6 Dec 2008 15:28:54 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: New songs uploaded/work vs. inspiration
To: Loopers-Delight@loopers-delight.com
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So I've been hanging around the list for a while now, and decided it was ti=
me to share. I created a ubetoo account and uploaded some of my most recent=
 work. I don't think any of it is more than a couple of weeks old.=0A=0AThi=
s is somewhat relevant to the Inspiration/Work thread, in that all these pi=
eces are the result of a decision I made a few months ago to play every day=
 and record it. I have been shocked at the diversity of my output as a resu=
lt of this daily discipline. So many times I felt uninspired when I began, =
but somewhere along the line, BANG! It hit.=0A=0AThe pieces are not particu=
alrly polished because part of=A0the=A0contract is that I don't spend any m=
ore than an hour and a half composing/recording anything, and that includes=
 warm-up time. I spend a little time after the fact mixing down in Live or =
Sonar, but I've generated so much material as a result of this disciplne th=
at I literally don' have time to mix everything down.=A0So I mix down as ra=
pidly as possible, doing little more than set panning and levels.Very littl=
e post effects are used...a rare compressor or eq is the extent of it.=A0=
=0A=0AIn the next couple of months I will be putting effort in to creating =
a polished album (or three...I've generated that much material in the last =
couple of months!), and hopefully start playing some shows.=0A=0AHere's the=
 link:=0A=0Ahttp://www.ubetoo.com/Artist.taf?_ArtistId=3D7049=0A=0A-George=
=0A=0A=0A      

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From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Thanks. Enjoyed listening. The Parson's Daughter became my favorite.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Sun, Dec 7, 2008 at 12:28 AM, George Ludwig <sfmissionman@yahoo.com> wrote:
> So I've been hanging around the list for a while now, and decided it was time to share. I created a ubetoo account and uploaded some of my most recent work. I don't think any of it is more than a couple of weeks old.
>
> This is somewhat relevant to the Inspiration/Work thread, in that all these pieces are the result of a decision I made a few months ago to play every day and record it. I have been shocked at the diversity of my output as a result of this daily discipline. So many times I felt uninspired when I began, but somewhere along the line, BANG! It hit.
>
> The pieces are not particualrly polished because part of the contract is that I don't spend any more than an hour and a half composing/recording anything, and that includes warm-up time. I spend a little time after the fact mixing down in Live or Sonar, but I've generated so much material as a result of this disciplne that I literally don' have time to mix everything down. So I mix down as rapidly as possible, doing little more than set panning and levels.Very little post effects are used...a rare compressor or eq is the extent of it.
>
> In the next couple of months I will be putting effort in to creating a polished album (or three...I've generated that much material in the last couple of months!), and hopefully start playing some shows.
>
> Here's the link:
>
> http://www.ubetoo.com/Artist.taf?_ArtistId=7049
>
> -George
>
>
>
>
>

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From: "ejyuhas" <ejyuhas@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Eivind Aarset
Date: Sat, 6 Dec 2008 21:37:31 -0500
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While on the subject of Mr. Aarset, I've seen these incredible vids on
YouTube:

 

Here: http://www.youtube.com/watch?v=HdkCE0UDq2w
<http://www.youtube.com/watch?v=HdkCE0UDq2w&feature=related>
&feature=related

 

And here: http://www.youtube.com/watch?v=9TLsV4dz_pk
<http://www.youtube.com/watch?v=9TLsV4dz_pk&NR=1> &NR=1 Check out Eivind's
work around 6:00 into this one.

 

He's playing as part of Dhafer Youssef's (the Tunisian oud player) band and
they are all kicking some ass!

 

Happy viewing! Crank it up!! LOL

 

Ed in NJ

http://www.myspace.com/edward_yuhas

 


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>While on the subject of Mr. Aarset, I&#8217;ve seen =
these
incredible vids on YouTube:<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'>Here: <a
href=3D"http://www.youtube.com/watch?v=3DHdkCE0UDq2w&amp;feature=3Drelate=
d">http://www.youtube.com/watch?v=3DHdkCE0UDq2w&amp;feature=3Drelated</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'><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'>And here:<font color=3Dnavy><span =
style=3D'color:navy'> <a
href=3D"http://www.youtube.com/watch?v=3D9TLsV4dz_pk&amp;NR=3D1">http://w=
ww.youtube.com/watch?v=3D9TLsV4dz_pk&amp;NR=3D1</a>
</span></font>Check out Eivind&#8217;s work around 6:00 into this =
one&#8230;<font
color=3Dnavy><span =
style=3D'color:navy'><o:p></o:p></span></font></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'><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'>He&#8217;s playing as part of Dhafer Youssef&#8217;s =
(the Tunisian
oud player) band and they are all kicking some =
ass!<o:p></o:p></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'><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'>Happy viewing! Crank it up!! =
LOL<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'>Ed in NJ<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'><a =
href=3D"http://www.myspace.com/edward_yuhas">http://www.myspace.com/edwar=
d_yuhas</a><o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 03:12:52 2008
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Date: Sat, 6 Dec 2008 19:12:49 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: New songs uploaded/work vs. inspiration
To: Loopers-Delight@loopers-delight.com
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Per,

Thanks for listening! BTW, I really enjoy your work. :)

-George


----- Original Message ----
From: Per Boysen <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Sent: Saturday, December 6, 2008 5:13:43 PM
Subject: Re: New songs uploaded/work vs. inspiration

Thanks. Enjoyed listening. The Parson's Daughter became my favorite.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Sun, Dec 7, 2008 at 12:28 AM, George Ludwig <sfmissionman@yahoo.com> wrote:
> So I've been hanging around the list for a while now, and decided it was time to share. I created a ubetoo account and uploaded some of my most recent work. I don't think any of it is more than a couple of weeks old.
>
> This is somewhat relevant to the Inspiration/Work thread, in that all these pieces are the result of a decision I made a few months ago to play every day and record it. I have been shocked at the diversity of my output as a result of this daily discipline. So many times I felt uninspired when I began, but somewhere along the line, BANG! It hit.
>
> The pieces are not particualrly polished because part of the contract is that I don't spend any more than an hour and a half composing/recording anything, and that includes warm-up time. I spend a little time after the fact mixing down in Live or Sonar, but I've generated so much material as a result of this disciplne that I literally don' have time to mix everything down. So I mix down as rapidly as possible, doing little more than set panning and levels.Very little post effects are used...a rare compressor or eq is the extent of it.
>
> In the next couple of months I will be putting effort in to creating a polished album (or three...I've generated that much material in the last couple of months!), and hopefully start playing some shows.
>
> Here's the link:
>
> http://www.ubetoo.com/Artist.taf?_ArtistId=7049
>
> -George
>
>
>
>
>


      

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Date: Sun, 7 Dec 2008 04:19:06 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Re: Sound Back in the Day was Re: ART Regular Output vs. Inspiration
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Rick,

thanks for that inspiration from your two messages (I believe now it's
three) on the topic, and by adding another, third, anecdote to your
collection, I'm making the connection to your first message mentioning
BD sizes:

Elvin Jones, who became famous as the drummer for John Coltrane's
quartet, helped to define the drum sound for acoustic modern jazz
groups by using a bass drum of 18'' diameter, while before him, all
jazz drummers used at least 20'' bass drums. Of course, this gave the
music of Coltrane's trio a more punchy and articulated bass drum sound
and left more space for the bass in the frequency spectrum. This was
then heralded as an important innovation in jazz drum sound.

When approached about this topic, Elvin Jones replied that he had
actually preferred to use a bigger bass drum like everyone else, but
it wouldn't fit into the touring van.

So in this case:

SHITTY TOURING VEHICLE = INNOVATION

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 03:46:38 2008
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From: andrew gallasch <andyrew671@hotmail.com>
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Subject: delays, mods, boss, fx loops, moog...
Date: Sun, 7 Dec 2008 14:16:37 +1030
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--_77c59a38-9d10-4fb0-b1a4-c05b259e2aa7_
Content-Type: text/plain; charset="iso-8859-1"
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hey everyone=2C

i kinda like my dd-6=2C it's small and everything=2C I generally use long r=
epeats... and actually I almost exclusively use it for rhythmic complexitie=
s like dotted quavers over quarters=2C 5 quavers over 4 etc... (I should pr=
obably have something better with better tap tempo... anyway) I also use it=
 for weird sounds with lots of feedback and delay=2C as such I want to hook=
 up an expression pedal to each of the feedback AND delay time pots. Does a=
nyone have any tips for this=2C what expression pedals to use etc? Or other=
 non conventional controllers? I suppose the dd6 would use all 3 terminals =
of the pots inside (will check) will that complicate things?


I've been checking out some different pedals with fx loops=2C I found these=
...

Moog 104-z
Keeley/Boss DD-3
Eventide TimeFactor..... if they can be bothered writing the plugin for it

I'm really keen to chuck a few pedals/an entire rig into the fx loop of a d=
elay so does anyone have any of the above 3 pedals for sale or know where t=
o get them cheap(ish)? or a boomerang phrase sampler for good measure?

Eventide got rid of the delay time change glitch (I love that glitch) does =
anyone know how the glitch sounds (compared to a dd6) for a dd20=2C line6 e=
tc... it'd be pretty similar I imagine but if you know...
also=2C it's quite markedly different on analog yeah? smoother...

And finally what does everyone use for their complex rhythmic delay stuff=
=2C with convenient tap tempo etc.
so far eventide stomp looks wicked=2C but your thoughts dd20? dl4? echopark=
???


thanks for any/all help

_________________________________________________________________
Net yourself a bargain. Find great deals on eBay.
http://a.ninemsn.com.au/b.aspx?URL=3Dhttp%3A%2F%2Frover%2Eebay%2Ecom%2Frove=
r%2F1%2F705%2D10129%2D5668%2D323%2F4%3Fid%3D10&_t=3D763807330&_r=3DhotmailT=
AGLINES&_m=3DEXT=

--_77c59a38-9d10-4fb0-b1a4-c05b259e2aa7_
Content-Type: text/html; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<html>
<head>
<style>
.hmmessage P
{
margin:0px=3B
padding:0px
}
body.hmmessage
{
font-size: 10pt=3B
font-family:Verdana
}
</style>
</head>
<body class=3D'hmmessage'>
<br>hey everyone=2C<br><br>i kinda like my dd-6=2C it's small and everythin=
g=2C I generally use long repeats... and actually I almost exclusively use =
it for rhythmic complexities like dotted quavers over quarters=2C 5 quavers=
 over 4 etc... (I should probably have something better with better tap tem=
po... anyway) I also use it for weird sounds with lots of feedback and dela=
y=2C as such I want to hook up an expression pedal to each of the feedback =
AND delay time pots. Does anyone have any tips for this=2C what expression =
pedals to use etc? Or other non conventional controllers? I suppose the dd6=
 would use all 3 terminals of the pots inside (will check) will that compli=
cate things?<br><br><br>I've been checking out some different pedals with f=
x loops=2C I found these...<br><br>Moog 104-z<br>Keeley/Boss DD-3<br>Eventi=
de TimeFactor..... if they can be bothered writing the plugin for it<br><br=
>I'm really keen to chuck a few pedals/an entire rig into the fx loop of a =
delay so does anyone have any of the above 3 pedals for sale or know where =
to get them cheap(ish)? or a boomerang phrase sampler for good measure?<br>=
<br>Eventide got rid of the delay time change glitch (I love that glitch) d=
oes anyone know how the glitch sounds (compared to a dd6) for a dd20=2C lin=
e6 etc... it'd be pretty similar I imagine but if you know...<br>also=2C it=
's quite markedly different on analog yeah? smoother...<br><br>And finally =
what does everyone use for their complex rhythmic delay stuff=2C with conve=
nient tap tempo etc.<br>so far eventide stomp looks wicked=2C but your thou=
ghts dd20? dl4? echopark???<br><br><br>thanks for any/all help<br><br /><hr=
 />Find great deals on eBay <a href=3D'http://a.ninemsn.com.au/b.aspx?URL=
=3Dhttp%3A%2F%2Frover%2Eebay%2Ecom%2Frover%2F1%2F705%2D10129%2D5668%2D323%2=
F4%3Fid%3D10&_t=3D763807330&_r=3DhotmailTAGLINES&_m=3DEXT' target=3D'_new'>=
Net yourself a bargain</a></body>
</html>=

--_77c59a38-9d10-4fb0-b1a4-c05b259e2aa7_--

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 08:43:48 2008
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Subject: Re: SHITTY SOUND =  INNOVATION                                  
 ?
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Rick Walker wrote:

> <mutters as he wanders off contemplating how to turn horrible over 
> subwoofed PA systems into some kind of innovation>
> 
> 

the innovation already happened

.....Stadium Rock


well, I guess you were thinking about *worthwhile* innovation

:-)

andy

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 08:55:01 2008
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andrew gallasch wrote:

> And finally what does everyone use for their complex rhythmic delay 
> stuff, with convenient tap tempo etc.
> so far eventide stomp looks wicked, but your thoughts dd20? dl4? echopark???
> 

Electro Harmonix Stereo Memory Man.
(although note that you can only tap up to about a second,
 even though the max delay is 3s)
(also you only get the straight tap time, not automatic division 
  for "dot rhythms")

Lexicon Vortex allows you to tap the time and set divisions (and configuration)
for 2 delays, that's what I use for my polyechoes.

andy butler

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and don't forget the Pigtronix Echolution - two delays with tap tempo and
subdivisions...
http://www.pigtronix.com/products08/echolution.html


On Sun, Dec 7, 2008 at 8:59 AM, andy butler <akbutler@tiscali.co.uk> wrote:

>
>
> andrew gallasch wrote:
>
>  And finally what does everyone use for their complex rhythmic delay stuff,
>> with convenient tap tempo etc.
>> so far eventide stomp looks wicked, but your thoughts dd20? dl4?
>> echopark???
>>
>>
> Electro Harmonix Stereo Memory Man.
> (although note that you can only tap up to about a second,
> even though the max delay is 3s)
> (also you only get the straight tap time, not automatic division  for "dot
> rhythms")
>
> Lexicon Vortex allows you to tap the time and set divisions (and
> configuration)
> for 2 delays, that's what I use for my polyechoes.
>
> andy butler
>
>

------=_Part_70799_5542949.1228645421694
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and don&#39;t forget the Pigtronix Echolution - two delays with tap tempo and subdivisions...<div><br></div><div><a href="http://www.pigtronix.com/products08/echolution.html">http://www.pigtronix.com/products08/echolution.html</a></div>
<div><br><br><div class="gmail_quote">On Sun, Dec 7, 2008 at 8:59 AM, andy butler <span dir="ltr">&lt;<a href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div class="Ih2E3d"><br>
<br>
andrew gallasch wrote:<br>
<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
And finally what does everyone use for their complex rhythmic delay stuff, with convenient tap tempo etc.<br>
so far eventide stomp looks wicked, but your thoughts dd20? dl4? echopark???<br>
<br>
</blockquote>
<br></div>
Electro Harmonix Stereo Memory Man.<br>
(although note that you can only tap up to about a second,<br>
even though the max delay is 3s)<br>
(also you only get the straight tap time, not automatic division &nbsp;for &quot;dot rhythms&quot;)<br>
<br>
Lexicon Vortex allows you to tap the time and set divisions (and configuration)<br>
for 2 delays, that&#39;s what I use for my polyechoes.<br><font color="#888888">
<br>
andy butler<br>
<br>
</font></blockquote></div><br></div>

------=_Part_70799_5542949.1228645421694--

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Date: Sun, 7 Dec 2008 14:13:44 +0100
From: "mark francombe" <mark@markfrancombe.com>
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Subject: Vortex problem
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Does anyone have this happen to them? You buy a new piece of kit off the
internet (in my case the roland ef303 on ebay) ... and eagerly await its
arrival.. meanwhile, a long standing and trusted piece of kit, stops
working. It always happens to me... its like it KNOWS that its time has
come... like YOU NOT SELLING ME YOU BASTARD... ID RATHER DIE!!!

Anyway:

The vortex: Suddenly all the echo parts of the patches disappear... all
modulation or panning of filter parts of the patches, are ok!!! I restart
the box (not easy with the vortex, why cant all things have an on/off switch
on the front) unplug the power and plug back in... And lo and behold the
echos are back... a little later they dissappear again, cant quite figure
out what Im doing when they go, but I DONT think they just dissappear on
their own acord, I think its wwhen I alter something - which is of course
ALL THE TIME...

Its annoying - I was beginning to lose interest in the Vortex, but its
always been there, (unsellable anyway cos its a littlebit circuit bent - NO
that not the prob.. its been like that for ages!!! - besides I know what Im
doing....) Any ideas???

Specifically Andy, or Ted???

M

-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Does anyone have this happen to them? You buy a new piece of kit off the internet (in my case the roland ef303 on ebay) ... and eagerly await its arrival.. meanwhile, a long standing and trusted piece of kit, stops working. It always happens to me... its like it KNOWS that its time has come... like YOU NOT SELLING ME YOU BASTARD... ID RATHER DIE!!!<br>
<br>Anyway:<br><br>The vortex: Suddenly all the echo parts of the patches disappear... all modulation or panning of filter parts of the patches, are ok!!! I restart the box (not easy with the vortex, why cant all things have an on/off switch on the front) unplug the power and plug back in... And lo and behold the echos are back... a little later they dissappear again, cant quite figure out what Im doing when they go, but I DONT think they just dissappear on their own acord, I think its wwhen I alter something - which is of course ALL THE TIME...<br>
<br>Its annoying - I was beginning to lose interest in the Vortex, but its always been there, (unsellable anyway cos its a littlebit circuit bent - NO that not the prob.. its been like that for ages!!! - besides I know what Im doing....) Any ideas???<br>
<br>Specifically Andy, or Ted???<br><br>M<br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 14:39:14 2008
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From: "Warren Sirota" <wsirota@wsdesigns.com>
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Hey George, nice stuff. I'm enjoying it.  so far, Calling has been my
favorite.

Are you liking that Godin jazz guitar? would you really play jazz with it?

Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

On Sat, Dec 6, 2008 at 6:28 PM, George Ludwig <sfmissionman@yahoo.com>wrote:

> So I've been hanging around the list for a while now, and decided it was
> time to share. I created a ubetoo account and uploaded some of my most
> recent work. I don't think any of it is more than a couple of weeks old.
>
> This is somewhat relevant to the Inspiration/Work thread, in that all these
> pieces are the result of a decision I made a few months ago to play every
> day and record it. I have been shocked at the diversity of my output as a
> result of this daily discipline. So many times I felt uninspired when I
> began, but somewhere along the line, BANG! It hit.
>
> The pieces are not particualrly polished because part of the contract is
> that I don't spend any more than an hour and a half composing/recording
> anything, and that includes warm-up time. I spend a little time after the
> fact mixing down in Live or Sonar, but I've generated so much material as a
> result of this disciplne that I literally don' have time to mix everything
> down. So I mix down as rapidly as possible, doing little more than set
> panning and levels.Very little post effects are used...a rare compressor or
> eq is the extent of it.
>
> In the next couple of months I will be putting effort in to creating a
> polished album (or three...I've generated that much material in the last
> couple of months!), and hopefully start playing some shows.
>
> Here's the link:
>
> http://www.ubetoo.com/Artist.taf?_ArtistId=7049
>
> -George
>
>
>
>
>

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Hey George, nice stuff. I&#39;m enjoying it.&nbsp; so far, Calling has been my favorite.<br><br>Are you liking that Godin jazz guitar? would you really play jazz with it?<br><br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br>
<a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br><br><div class="gmail_quote">On Sat, Dec 6, 2008 at 6:28 PM, George Ludwig <span dir="ltr">&lt;<a href="mailto:sfmissionman@yahoo.com">sfmissionman@yahoo.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">So I&#39;ve been hanging around the list for a while now, and decided it was time to share. I created a ubetoo account and uploaded some of my most recent work. I don&#39;t think any of it is more than a couple of weeks old.<br>

<br>
This is somewhat relevant to the Inspiration/Work thread, in that all these pieces are the result of a decision I made a few months ago to play every day and record it. I have been shocked at the diversity of my output as a result of this daily discipline. So many times I felt uninspired when I began, but somewhere along the line, BANG! It hit.<br>

<br>
The pieces are not particualrly polished because part of&nbsp;the&nbsp;contract is that I don&#39;t spend any more than an hour and a half composing/recording anything, and that includes warm-up time. I spend a little time after the fact mixing down in Live or Sonar, but I&#39;ve generated so much material as a result of this disciplne that I literally don&#39; have time to mix everything down.&nbsp;So I mix down as rapidly as possible, doing little more than set panning and levels.Very little post effects are used...a rare compressor or eq is the extent of it.&nbsp;<br>

<br>
In the next couple of months I will be putting effort in to creating a polished album (or three...I&#39;ve generated that much material in the last couple of months!), and hopefully start playing some shows.<br>
<br>
Here&#39;s the link:<br>
<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=7049" target="_blank">http://www.ubetoo.com/Artist.taf?_ArtistId=7049</a><br>
<font color="#888888"><br>
-George<br>
<br>
<br>
<br>
<br>
</font></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 15:23:05 2008
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andy butler wrote:
> Ableton for looping,
> Bidule for LiveLooping
> ...
> and Bidule's cheaper. 
Where to get Bidule and how much?

Cheers,

Bill

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> andy butler wrote:
>>
>> Ableton for looping,
>> Bidule for LiveLooping
>> ...
>> and Bidule's cheaper.

On Sun, Dec 7, 2008 at 4:21 PM, Bill Fox <billyfox@soundscapes.us> wrote:
> Where to get Bidule and how much?
>
> Cheers,
>
> Bill


Get it here:
http://www.plogue.com/

It's free. Bidule is still i beta but if you like it you can buy the
"Early Bird License", which isn't expensive at all.

What you get with for extra with the Early Bird license is the option
to also run Bidule as a plug-in, Audio Unit or VST. I must say that I
have had good use for the plug-in version. One thing you can do is to
use it as a VST to AU adaptor on Mac. You can also crate spacey effect
plug-in chains in Bidule by combining your VST or AU plug-ins in
different routing. Whenever you want to load that complete setup into
any other audio host you simply open the Bidule plug-in and then load
your fx routing setup from withing Bidule AU/VST. A third task I've
used Bidul plug-in for is to fetch or send a MIDI stream from some
specific device that is not detected by the host application.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From mrslindar@terra.es  Sun Dec  7 15:47:32 2008
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In a message dated 12/6/08 5:26:27 PM, looppool@cruzio.com writes:


> I think I may be a horrible stereotypical bore on
> this subject completely sober (which I am 98% of the time)
> 

well there's your problem!.....drink more!.....and another thing.....i have 
spent the past few years atempting to play standing up, as per kim's prejudice, 
wasn't there a thread on this in the way back?.....so after falling over 
innumerable times and knocking equipment off stands, looking much like a drunken 
sailor 98% of the time, i now watch all these wonderful videos with just about 
everyone sitting down.....SIT or STAND, what's the deal?.....i don't want to 
look like a bigger clone than i already am!.....yikes.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010)

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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 12/6/08 5:26:27 PM, looppool@cruzio.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">I think I may be a ho=
rrible stereotypical bore on<BR>
this subject completely sober (which I am 98% of the time)<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">well there's your problem!.....drink more!.....and another thing.....i ha=
ve spent the past few years atempting to play standing up, as per kim's prej=
udice, wasn't there a thread on this in the way back?.....so after falling o=
ver innumerable times and knocking equipment off stands, looking much like a=
 drunken sailor 98% of the time, i now watch all these wonderful videos with=
 just about everyone sitting down.....SIT or STAND, what's the deal?.....i d=
on't want to look like a bigger clone than i already am!.....yikes.....:)m<B=
R>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 17:14:01 2008
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Date: Sun, 7 Dec 2008 18:13:59 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Sit down or stand up (was: bitrman (ineko)/sound in the good ole days...)
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Michael,

you asked:
"i now watch all these wonderful videos with just about everyone
sitting down.....SIT or STAND, what's the deal?",

to which I'm gonna answer using a video as reference:
http://www.youtube.com/watch?v=RgPgTW-qmXQ

Two guitarists, one standing, one sitting down. Who looks cooler?

If you're not already convinced, take the example of rock singers doing ballads:
http://www.youtube.com/watch?v=ljzGgrl4njA
against
http://www.youtube.com/watch?v=hRB4f26pNJ0

Standing up gives you more possibilities for audience interaction, and
doesn't make you look stupid.

(not wanting to musically discredit the first example - and the guitar
solo is outstanding and demonstrates that yes, you can play a
superchops guitar solo to a ballad and at the same time be musical.
The entire DVD that concert is taken from is available as a download
here: http://video.google.de/videoplay?docid=-130153110827656830&ei=eAA8SZioKI-o2wKZ8fzaCg&q=dream+theater+live+at+budokan&hl=de&dur=3

Keep up Rock 'n' Roll! And go out and attach that Bitrman to your
guitar, so you can play it standing up.

             Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 17:39:19 2008
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hi Mark,
If it's some kind of bug then I can only
guess that it's to do with saving a preset 
to a different register.
I don't remember the details but say you saved
preset 14B to register 1A.
It should work, but for some combinations of source/destination
the Vortex goes haywire. ( massed digi-distortion on one occasion,
but with intact A-B morphing to a regular sound...hmm...maybe that's
something you'd like).

It's possible it's a hardware thing, as I reckon the echo & mod
are done in different parts of the circuit.

Did you check the ECHO LVL param?
Does tweaking it get the Echoes back?


If my unit was doing this, I'd leave it switched for days on in the hope
that the fault became permanent, then I'd take it to 
the local electronics fixer, making sure I used the phrase
"leaky capacitor" at least once.
(Vortex schematic now available from http://www.andybutler.com/vortex/vortex.htm ) 

good luck
andy butler

mark francombe wrote:
 
> The vortex: Suddenly all the echo parts of the patches disappear... all 
> modulation or panning of filter parts of the patches, are ok!!! I 
> restart the box (not easy with the vortex, why cant all things have an 
> on/off switch on the front) unplug the power and plug back in... And lo 
> and behold the echos are back... 
> 
> Specifically Andy, or Ted???
> 
> M
> 

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 17:47:14 2008
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Per Boysen wrote:
>> andy butler wrote:
>>> Ableton for looping,
>>> Bidule for LiveLooping
>>> ...
>>> and Bidule's cheaper.
> 
> On Sun, Dec 7, 2008 at 4:21 PM, Bill Fox <billyfox@soundscapes.us> wrote:
>> Where to get Bidule and how much?
>>
>> Cheers,
>>
>> Bill
> 
> 
> Get it here:
> http://www.plogue.com/
> 
> It's free. Bidule is still i beta but if you like it you can buy the
> "Early Bird License", which isn't expensive at all.
> 


If you don't get the license then the software times out,
and usually there's a bit of a wait before they put the
new version online for download.

So it's risky not to get the license, and at £60 or so
it's well worth it.

andy butler

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 17:48:54 2008
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Nemoguitt@aol.com wrote:

> have spent the past few years atempting to play standing up, as per 
> kim's prejudice, wasn't there a thread on this in the way back?.....so 

..and Kim just ignores my "two expression pedal challenge"

andy

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watch this:
http://www.youtube.com/watch?v=fDQZs6FyFbY

Its my composer friend Tato Taborda with his instrument "Geralda", a  
projects he works on for years, together with inventor Alexandre  
Boratto do Vale...
...using two Paradis LOOP delays :-)

Now they rebuilt his amazing instrument in order to make it more  
portable, so I hope Tato can finally do his word tour...


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On Sun, Dec 7, 2008 at 6:43 PM, andy butler <akbutler@tiscali.co.uk> wrote:

> hi Mark,
> If it's some kind of bug then I can only
> guess that it's to do with saving a preset to a different register.
> I don't remember the details but say you saved
> preset 14B to register 1A.


No I dont think its that... Im rarely saving preset these days...

>
> It should work, but for some combinations of source/destination
> the Vortex goes haywire. ( massed digi-distortion on one occasion,
> but with intact A-B morphing to a regular sound...hmm...maybe that's
> something you'd like).


Indeed... Never come across that!!


>
>
> It's possible it's a hardware thing, as I reckon the echo & mod
> are done in different parts of the circuit.


Thats what I was afraid of...

>
>
> Did you check the ECHO LVL param?
> Does tweaking it get the Echoes back?


no..



> If my unit was doing this, I'd leave it switched for days on in the hope
> that the fault became permanent, then I'd take it to the local electronics
> fixer, making sure I used the phrase
> "leaky capacitor" at least once.


Hmm why do you think its a leaky capacitor?


>
> (Vortex schematic now available from
> http://www.andybutler.com/vortex/vortex.htm )


Interesting!!!

More playing with reveals that the echos vanish just randomly, UPON TURNING
THE PRESET ENCODER... can be any patch.. might it be a dodgy / dirty
encoder? Can I clean it (like some pots?)

thanks andy... looks like I need an expert.... damn.!!!

mark

-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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On Sun, Dec 7, 2008 at 6:43 PM, andy butler <span dir="ltr">&lt;<a href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</a>&gt;</span> wrote:<br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
hi Mark,<br>
If it&#39;s some kind of bug then I can only<br>
guess that it&#39;s to do with saving a preset to a different register.<br>
I don&#39;t remember the details but say you saved<br>
preset 14B to register 1A.</blockquote><div><br>No I dont think its that... Im rarely saving preset these days... <br></div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
It should work, but for some combinations of source/destination<br>
the Vortex goes haywire. ( massed digi-distortion on one occasion,<br>
but with intact A-B morphing to a regular sound...hmm...maybe that&#39;s<br>
something you&#39;d like).</blockquote><div><br>Indeed... Never come across that!!<br>&nbsp;<br></div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
<br>
It&#39;s possible it&#39;s a hardware thing, as I reckon the echo &amp; mod<br>
are done in different parts of the circuit.</blockquote><div><br>Thats what I was afraid of... <br></div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
<br>
Did you check the ECHO LVL param?<br>
Does tweaking it get the Echoes back?</blockquote><div><br>no.. <br></div><div><br>&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
If my unit was doing this, I&#39;d leave it switched for days on in the hope<br>
that the fault became permanent, then I&#39;d take it to the local electronics fixer, making sure I used the phrase<br>
&quot;leaky capacitor&quot; at least once.</blockquote><div><br>Hmm why do you think its a leaky capacitor?<br>&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
(Vortex schematic now available from <a href="http://www.andybutler.com/vortex/vortex.htm" target="_blank">http://www.andybutler.com/vortex/vortex.htm</a> ) </blockquote><div><br>Interesting!!!<br><br>More playing with reveals that the echos vanish just randomly, UPON
TURNING THE PRESET ENCODER... can be any patch.. might it be a dodgy /
dirty encoder? Can I clean it (like some pots?)<br><br>thanks andy... looks like I need an expert.... damn.!!!<br><br>mark<br></div></div><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br>
<a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br><a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>


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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 18:50:48 2008
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Date: Sun, 7 Dec 2008 10:50:47 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: New songs uploaded/work vs. inspiration
To: Loopers-Delight@loopers-delight.com
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Warren, =0A=0AThanks for listening! I responded to your post-production que=
stion on the site. As for the Godin Multiac Jazz, I'm loving it. I would de=
finitely plazz jazz on it. The electronics are pretty sophisticated, and it=
 took some time for me to get the tones that I like out of it. When I first=
 got it, I thought, "crap, this thing plays great but the tone sucks." But =
it's working really well for me now. One of the differences between it and =
other semis/archtops is that the body of the Godin is VERY solid, and I don=
't think it resonates as lively as, say, a 335 does. But I suspect that's o=
n purpose so the guitar doesn't "bark" or feedback at higher performance vo=
lumes.=0A=0AIt's also proven to be an incredibly solid and stable guitar sy=
nth platform. I've strung it with extra-heavy strings, and it's got sustain=
 for days.=A0People who have heard some of my tracks swear there is piano o=
n them! I'm guessing it's due to the extra heavy strings combined with how =
I sometimes use a wah pedal to achieve certain tonal effects.=0A=0AAnd the =
craftsmanship is top-notch. I'm completely anal about=A0necks; I've had thr=
ee of my guitars pleck'd. The Godin needs no such thing.=A0I would not hesi=
tate to reccomend this instrument to anyone.=0A=0A-George=0A=0A=A0=0A=0A___=
_____________________________=0AFrom: Warren Sirota <wsirota@wsdesigns.com>=
=0ATo: Loopers-Delight@loopers-delight.com=0ASent: Sunday, December 7, 2008=
 6:39:12 AM=0ASubject: Re: New songs uploaded/work vs. inspiration=0A=0AHey=
 George, nice stuff. I'm enjoying it.=A0 so far, Calling has been my favori=
te.=0A=0AAre you liking that Godin jazz guitar? would you really play jazz =
with it?=0A=0AWarren=0Ahttp://www.ubetoo.com/Artist.taf?_ArtistId=3D6679=0A=
http://www.warrensirota.com=0A=0A=0AOn Sat, Dec 6, 2008 at 6:28 PM, George =
Ludwig <sfmissionman@yahoo.com> wrote:=0A=0ASo I've been hanging around the=
 list for a while now, and decided it was time to share. I created a ubetoo=
 account and uploaded some of my most recent work. I don't think any of it =
is more than a couple of weeks old.=0A=0AThis is somewhat relevant to the I=
nspiration/Work thread, in that all these pieces are the result of a decisi=
on I made a few months ago to play every day and record it. I have been sho=
cked at the diversity of my output as a result of this daily discipline. So=
 many times I felt uninspired when I began, but somewhere along the line, B=
ANG! It hit.=0A=0AThe pieces are not particualrly polished because part of=
=A0the=A0contract is that I don't spend any more than an hour and a half co=
mposing/recording anything, and that includes warm-up time. I spend a littl=
e time after the fact mixing down in Live or Sonar, but I've generated so m=
uch material as a result of this disciplne that I literally don' have time =
to mix everything down.=A0So I mix down as rapidly as possible, doing littl=
e more than set panning and levels.Very little post effects are used...a ra=
re compressor or eq is the extent of it.=A0=0A=0AIn the next couple of mont=
hs I will be putting effort in to creating a polished album (or three...I'v=
e generated that much material in the last couple of months!), and hopefull=
y start playing some shows.=0A=0AHere's the link:=0A=0Ahttp://www.ubetoo.co=
m/Artist.taf?_ArtistId=3D7049=0A=0A-George=0A=0A=0A      
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><DIV>Warren, </DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks for listening! I responded to your post-production question on the site. As for the Godin Multiac Jazz, I'm loving it. I would definitely plazz jazz on it. The electronics are pretty sophisticated, and it took some time for me to get the tones that I like out of it. When I first got it, I thought, "crap, this thing plays great but the tone sucks." But it's working really well for me now. One of the differences between it and other semis/archtops is that the body of the Godin is VERY solid, and I don't think it resonates as lively as, say, a 335 does. But I suspect that's on purpose so the guitar doesn't "bark" or feedback at higher performance volumes.</DIV>
<DIV>&nbsp;</DIV>
<DIV>It's also proven to be an incredibly solid and stable guitar synth platform. I've strung it with extra-heavy strings, and it's got sustain for days.&nbsp;People who have heard some of my tracks swear there is piano on them! I'm guessing it's due to the extra heavy strings combined with how I sometimes use a wah pedal to achieve certain tonal effects.</DIV>
<DIV>&nbsp;</DIV>
<DIV>And the craftsmanship is top-notch. I'm completely anal about&nbsp;necks; I've had three of my guitars pleck'd. The Godin needs no such thing.&nbsp;I would not hesitate to reccomend this instrument to anyone.<BR></DIV>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif">-George</DIV>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><BR>&nbsp;</DIV>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><FONT face=Tahoma size=2>
<HR SIZE=1>
<B><SPAN style="FONT-WEIGHT: bold">From:</SPAN></B> Warren Sirota &lt;wsirota@wsdesigns.com&gt;<BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> Loopers-Delight@loopers-delight.com<BR><B><SPAN style="FONT-WEIGHT: bold">Sent:</SPAN></B> Sunday, December 7, 2008 6:39:12 AM<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re: New songs uploaded/work vs. inspiration<BR></FONT><BR>Hey George, nice stuff. I'm enjoying it.&nbsp; so far, Calling has been my favorite.<BR><BR>Are you liking that Godin jazz guitar? would you really play jazz with it?<BR><BR>Warren<BR><A href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679" target=_blank rel=nofollow>http://www.ubetoo.com/Artist.taf?_ArtistId=6679</A><BR><A href="http://www.warrensirota.com/" target=_blank rel=nofollow>http://www.warrensirota.com</A><BR><BR>
<DIV class=gmail_quote>On Sat, Dec 6, 2008 at 6:28 PM, George Ludwig <SPAN dir=ltr>&lt;<A href="mailto:sfmissionman@yahoo.com" target=_blank rel=nofollow ymailto="mailto:sfmissionman@yahoo.com">sfmissionman@yahoo.com</A>&gt;</SPAN> wrote:<BR>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">So I've been hanging around the list for a while now, and decided it was time to share. I created a ubetoo account and uploaded some of my most recent work. I don't think any of it is more than a couple of weeks old.<BR><BR>This is somewhat relevant to the Inspiration/Work thread, in that all these pieces are the result of a decision I made a few months ago to play every day and record it. I have been shocked at the diversity of my output as a result of this daily discipline. So many times I felt uninspired when I began, but somewhere along the line, BANG! It hit.<BR><BR>The pieces are not particualrly polished because part of&nbsp;the&nbsp;contract is that I don't spend any more than an hour and a half composing/recording anything, and that includes warm-up time. I spend a little time after the fact mixing down in Live or Sonar,
 but I've generated so much material as a result of this disciplne that I literally don' have time to mix everything down.&nbsp;So I mix down as rapidly as possible, doing little more than set panning and levels.Very little post effects are used...a rare compressor or eq is the extent of it.&nbsp;<BR><BR>In the next couple of months I will be putting effort in to creating a polished album (or three...I've generated that much material in the last couple of months!), and hopefully start playing some shows.<BR><BR>Here's the link:<BR><BR><A href="http://www.ubetoo.com/Artist.taf?_ArtistId=7049" target=_blank rel=nofollow>http://www.ubetoo.com/Artist.taf?_ArtistId=7049</A><BR><FONT color=#888888><BR>-George<BR><BR><BR><BR><BR></FONT></BLOCKQUOTE></DIV><BR></DIV></div><br>

      </body></html>
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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 18:52:31 2008
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Date: Sun, 7 Dec 2008 10:52:29 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
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On Sun, Dec 7, 2008 at 7:33 AM, Per Boysen <perboysen@gmail.com> wrote:

> What you get with for extra with the Early Bird license is the option
> to also run Bidule as a plug-in, Audio Unit or VST. I must say that I
> have had good use for the plug-in version.

Wouldn't it be cool if you could load up a complicated bidule patch
complete with amplifier simulation and save it as a VST plugin into a
v-machine? (http://www.smproaudio.com/index.php?option=com_content&task=view&id=73)


I'm still looking for a something that doesn't look as obvious as a
laptop, though I'm not willing to spend the money just to find out
what the limitations are.


-- 
Art Simon
simart@null.net
art.simon.tripod.com
myspace [dot] com/artsimon

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 19:18:46 2008
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Date: Sun, 07 Dec 2008 14:16:50 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: Live vs Bidule
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Hi Andy and Per,

Thanks for the info.  Seems like I ought to try this for free and then 
get the license if I like how Bidule works.

Cheers,

Bill

andy butler wrote:
> Per Boysen wrote:
>> On Sun, Dec 7, 2008 at 4:21 PM, Bill Fox <billyfox@soundscapes.us> 
>> wrote:
>>> Where to get Bidule and how much?
>> Get it here: http://www.plogue.com
>> It's free. Bidule is still in beta but if you like it you can buy the 
>> "Early Bird License", which isn't expensive at all.
> If you don't get the license then the software times out, and usually 
> there's a bit of a wait before they put the new version online for 
> download.  So it's risky not to get the license, and at £60 or so it's 
> well worth it.

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Message-ID: <66f9cc1e0812071150o512c7485m9029fefc9c0d5201@mail.gmail.com>
Date: Sun, 7 Dec 2008 20:50:39 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: amazing one man band
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Fantastic! Great being able to work with tempo change like that. And
what a machine it is, his instrument! Very cyber trashy.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Sun, Dec 7, 2008 at 7:28 PM, Matthias Grob <matilists@atarde.com.br> wrote:
> watch this:
> http://www.youtube.com/watch?v=fDQZs6FyFbY
>
> Its my composer friend Tato Taborda with his instrument "Geralda", a
> projects he works on for years, together with inventor Alexandre Boratto do
> Vale...
> ...using two Paradis LOOP delays :-)
>
> Now they rebuilt his amazing instrument in order to make it more portable,
> so I hope Tato can finally do his word tour...
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 20:25:30 2008
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Subject: Re: amazing one man band
Date: Sun, 7 Dec 2008 17:24:44 -0300
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On 7 Dec 2008, at 16:50, Per Boysen wrote:

> Fantastic! Great being able to work with tempo change like that.

what do you mean by tempo change?
I think there is a cut in the video...

> And
> what a machine it is, his instrument! Very cyber trashy.

:-)
>
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
>
> On Sun, Dec 7, 2008 at 7:28 PM, Matthias Grob  
> <matilists@atarde.com.br> wrote:
>> watch this:
>> http://www.youtube.com/watch?v=fDQZs6FyFbY
>>
>> Its my composer friend Tato Taborda with his instrument "Geralda", a
>> projects he works on for years, together with inventor Alexandre  
>> Boratto do
>> Vale...
>> ...using two Paradis LOOP delays :-)
>>
>> Now they rebuilt his amazing instrument in order to make it more  
>> portable,
>> so I hope Tato can finally do his word tour...
>>
>>
>>
>

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Date: Sun, 7 Dec 2008 21:40:54 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: amazing one man band
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Well, it could of course be a rubato thing. One of the parts he plays
goes faster and faster.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Sun, Dec 7, 2008 at 9:24 PM, Matthias Grob <matilists@atarde.com.br> wrote:
>
> On 7 Dec 2008, at 16:50, Per Boysen wrote:
>
>> Fantastic! Great being able to work with tempo change like that.
>
> what do you mean by tempo change?
> I think there is a cut in the video...
>
>> And
>> what a machine it is, his instrument! Very cyber trashy.
>
> :-)
>>
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>>
>> On Sun, Dec 7, 2008 at 7:28 PM, Matthias Grob <matilists@atarde.com.br>
>> wrote:
>>>
>>> watch this:
>>> http://www.youtube.com/watch?v=fDQZs6FyFbY
>>>
>>> Its my composer friend Tato Taborda with his instrument "Geralda", a
>>> projects he works on for years, together with inventor Alexandre Boratto
>>> do
>>> Vale...
>>> ...using two Paradis LOOP delays :-)
>>>
>>> Now they rebuilt his amazing instrument in order to make it more
>>> portable,
>>> so I hope Tato can finally do his word tour...
>>>
>>>
>>>
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 20:44:50 2008
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Subject: delays, mods, boss, fx loops, moog...
Date: Sun, 7 Dec 2008 12:44:46 -0800
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------=_NextPart_000_0029_01C95869.98DB5090
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Hi Andrew, if you want to do multiple delays with defined beat =
divisions,
like for example,  a =BC note delay combined with a dotted 1/8th  note =
delay,
you either need two delays that will do this, (like your DD-6, or a DL-4 =
in
rhythmic delay mode), or get a more sophisticated delay that can do two
independent delays.  about the other delays you mentioned, the DL-20 and =
the
Eventide may allow you to set two delays with separately specified beat
divisions, I=92m not sure, I don=92t own either one. The new M-13 from =
Line 6
will allow you to run up to 4 effects at one time, which means if you =
love
delay, you can run the M13 as 4 separate delay lines, all capable of =
having
their delay times controlled by tap tempo simultaneously. Which means =
you
can specify a different beat division for each delay but slave them all =
to a
master tap tempo. Usually, dual delays creating syncopation are plenty =
for
me, but I have been experimenting with as many as 4 delays all set to
different beat divisions. And=20

Example;  1/4 note, dotted 1/8th, triplet 16th,whole note,  all creating =
a
cool syncopation, but the possibilities are pretty limitless. The M-13 =
has
two assignable expression pedal ports (exp pedals are action figures =
sold
separately) so you can go to town controlling feedback or delay speed or
delay volume, or any parameter for that matter. The stereo effects loop =
is
assignable anywhere in the chain. And did I mention the built in looper.
Though it may not be of the audiophile quality of the Eventide, it =
sounds
very good to my ears and seems more versatile as far as features go. Its
also got every other modeled effect Line 6 has ever done, including a =
very
good sim of a rack mount chorus Roland made years ago that I once owned, =
the
Dimension D.,. its downsides are its big, but it could take the place of
several other pieces of gear. Also the looper has shown a tendency to
display a static clip at loop point. The loop volume is slightly louder =
than
it needs to be, so I found trimming back the loop play back volume will =
fix
this problem for the most part. Apparantly a software fix for this will =
be
available in late December early January.

 Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:11.0pt;
font-family:Arial'>Hi Andrew, if you want to do multiple delays with =
defined
beat divisions, like for example, =A0a =BC note delay combined with a =
dotted 1/8<sup>th</sup>
=A0note delay, you either need two delays that will do this, (like your =
DD-6, or
a DL-4 in rhythmic delay mode), or get a more sophisticated delay that =
can do
two independent delays. =A0about the other delays you mentioned, the =
DL-20 and
the Eventide may allow you to set two delays with separately specified =
beat
divisions, I&#8217;m not sure, I don&#8217;t own either one. The new =
M-13 from
Line 6 will allow you to run up to 4 effects at one time, which means if =
you
love delay, you can run the M13 as 4 separate delay lines, all capable =
of
having their delay times controlled by tap tempo simultaneously. Which =
means
you can specify a different beat division for each delay but slave them =
all to
a master tap tempo. Usually, dual delays creating syncopation are plenty =
for
me, but I have been experimenting with as many as 4 delays all set to =
different
beat divisions. And <o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:11.0pt;
font-family:Arial'>Example;=A0 1/4 note, dotted 1/8<sup>th</sup>, =
triplet 16<sup>th</sup>,whole
note, =A0all creating a cool syncopation, but the possibilities are =
pretty
limitless. The M-13 has two assignable expression pedal ports (exp =
pedals are
action figures sold separately) so you can go to town controlling =
feedback or
delay speed or delay volume, or any parameter for that matter. The =
stereo
effects loop is assignable anywhere in the chain. And did I mention the =
built
in looper. =A0Though it may not be of the audiophile quality of the =
Eventide, it
sounds very good to my ears and seems more versatile as far as features =
go. Its
also got every other modeled effect Line 6 has ever done, including a =
very good
sim of a rack mount chorus Roland made years ago that I once owned, the =
Dimension
D.,. its downsides are its big, but it could take the place of several =
other pieces
of gear. Also the looper has shown a tendency to display a static clip =
at loop
point. The loop volume is slightly louder than it needs to be, so I =
found
trimming back the loop play back volume will fix this problem for the =
most part.
Apparantly a software fix for this will be available in late December =
early January.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:11.0pt;
font-family:Arial'>=A0Bill<o:p></o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec  7 21:01:17 2008
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mark francombe wrote:

> Hmm why do you think its a leaky capacitor?

Electrolytic Capacitors on the the various power rails
are likely components to fail.
Also diodes in the power regulation, but that's more obvious
to find.

>  
> 
> 
>     (Vortex schematic now available from
>     http://www.andybutler.com/vortex/vortex.htm ) 
> 
> 
> Interesting!!!
> 
> More playing with reveals that the echos vanish just randomly, UPON 
> TURNING THE PRESET ENCODER... can be any patch.. might it be a dodgy / 
> dirty encoder? Can I clean it (like some pots?)

If the encoder's dodgy,
then it won't take you through all the presets (1-16).
That's a common fault, and Lexicon don't have any encoders left.

Luckily Bob "Jamman" Sellon is on the case.

http://www.stecrecords.com/gear/jamman/EncoderRepair/index.php


Cleaning is possible, but not a long term solution.

> 
> thanks andy... looks like I need an expert.... damn.!!!
> 
> mark
> 
andy

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 02:20:30 2008
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Subject: 450'000 plays with a lo fi video!
Date: Sun, 7 Dec 2008 23:19:40 -0300
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how did this guy reach 450'000 plays on youtube?

http://www.youtube.com/watch?v=ebd7ONuE-PA

maybe he was simply quicker than the rest of us?

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 02:42:22 2008
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Date: Sun, 07 Dec 2008 20:42:16 -0600
From: Daryl Shawn <highhorse@mhorse.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: 450'000 plays with a lo fi video!
References: <6F330F03-FE9F-4BC6-AC48-44D6A0AB0082@atarde.com.br>
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Or, everyone in his high school watched it ten times and texted it to 
all their kid sisters, who passed it around all their middle schools and 
beyond. Nothing sells like a wholesome-looking white man co-opting the 
art produced by someone of another ethnicity, Elvis taught us.

Bet that dude gets action all the way thru graduation...

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

> how did this guy reach 450'000 plays on youtube?
>
> http://www.youtube.com/watch?v=ebd7ONuE-PA
>
> maybe he was simply quicker than the rest of us?

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 03:11:18 2008
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Date: Sun, 7 Dec 2008 19:11:17 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: 450'000 plays with a lo fi video!
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He did a good job on the cover, it was funny and entertaining, Plus the original Usher "yeah" video has 7.5 million hits. If you search youtube for Usher Yeah you will see this kid's video on the list. He no doubt got some clickthrough of real Usher fans.

And yeah, I wish I was him right now.


----- Original Message ----
From: Daryl Shawn <highhorse@mhorse.com>
To: Loopers-Delight@loopers-delight.com
Sent: Sunday, December 7, 2008 6:42:16 PM
Subject: Re: 450'000 plays with a lo fi video!

Or, everyone in his high school watched it ten times and texted it to all their kid sisters, who passed it around all their middle schools and beyond. Nothing sells like a wholesome-looking white man co-opting the art produced by someone of another ethnicity, Elvis taught us.

Bet that dude gets action all the way thru graduation...

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

> how did this guy reach 450'000 plays on youtube?
> 
> http://www.youtube.com/watch?v=ebd7ONuE-PA
> 
> maybe he was simply quicker than the rest of us?


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 07:07:49 2008
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Date: Sun, 7 Dec 2008 23:07:47 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: LD <Loopers-Delight@loopers-delight.com>
Subject: OT: Pearce Amp manual?
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I just picked up a Pearce G2r, and I'm having no luck googling up a manual.
Anyone have any info on exactly what the front panel DIP switches do?
Off-list answer probably best in this case.

Thanks,

Travis Hartnett

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I just picked up a Pearce G2r, and I&#39;m having no luck googling up a manual.&nbsp; Anyone have any info on exactly what the front panel DIP switches do?&nbsp; Off-list answer probably best in this case.<br><br>Thanks,<br><br>Travis Hartnett<br>

------=_Part_54774_9739129.1228720067348--

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 09:53:47 2008
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I'm sure it has nothing to do with his use of looping.

Matthias Grob wrote:
> how did this guy reach 450'000 plays on youtube?
> 
> http://www.youtube.com/watch?v=ebd7ONuE-PA
> 
> maybe he was simply quicker than the rest of us?
> 
> 

From lotto000100@aol.com  Mon Dec  8 10:04:30 2008
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fantastic ;)

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fantastic ;)<br>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 14:10:38 2008
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From: "Warren Sirota" <wsirota@wsdesigns.com>
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So, just for the heck of it, I sent a request to create a Live Looping
category over at Ubetoo. Here's the reply:

Thanks for your request. I have honestly never heard of Live Looping before,
but have now added the category to the music categories on our website to
try it out. Please tell your friends they're welcome to upload. If the
category hasn't grown enough within the nearest few weeks it may risk being
removed in the future, same as for all other small categories, so start
posting! Thanks for the feedback.

So, there should now be a Live Looping category at Ubetoo. I'm going to move
my Live Looping pieces over to that category today. So, if you wish to
categorize some of your music this way, here is an opportunity.

Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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So, just for the heck of it, I sent a request to create a Live Looping category over at Ubetoo. Here&#39;s the reply: <br><br>Thanks for your request. I have honestly never heard of Live Looping before,<br>
but have now added the category to the music categories on our website to<br>
try it out. Please tell your friends they&#39;re welcome to upload. If the<br>
category hasn&#39;t grown enough within the nearest few weeks it may risk being<br>
removed in the future, same as for all other small categories, so start<br>
posting! Thanks for the feedback.<br><br>So, there should now be a Live Looping category at Ubetoo. I&#39;m going to move my Live Looping pieces over to that category today. So, if you wish to categorize some of your music this way, here is an opportunity.<br>
<br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br><br>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 14:20:40 2008
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Art Simon schrieb:
> I'm still looking for a something that doesn't look as obvious as a
> laptop, though I'm not willing to spend the money just to find out
> what the limitations are.

If you put the laptop into one of those banana or shoe boxes, it 
wouldn't look like a laptop at all... ;-)

And no matter what hardware you buy, you'll just find out what the 
limitations are...

Stefan

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 14:33:02 2008
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what nice morning wake up music.....thanks george!.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">what nice morning wake up music.....tha=
nks george!.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

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Subject: # delays, mods, boss, fx loops, moog... for andrew gallasch
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andrew-
the boss dd20 does do some delay that allows you 2 independent delay lines for "interesting delay use"-can't remember which mode it was (maybe the tape mode as in 2-heads on old tape machine?)
i think i tried to use it once, wasn't something that thrilled me, seemed more complicated than i was willing to mess with (i keep everything at hands reach on a table)
for glitching sounds-i thought it was pretty weak, it did not do a budget version of demo of what david torn's lexicon pcm42 unit (which my old dod d12 could do-which is why i loved that thing!)
to be fair it could kind of warble the sound, but didn't seem overly usable to me. it really wasn't doing any time pitch-shift that i wanted it to do (slow to fast or fast to slow). yes, it can do 23 sec of delay, but again, that didn't thrill me. hence i put it away when i got an older boss rc20.

a cheap option of rhythmic delays is the zoom g2-you can actually set up 3 different delays in it (they fall under different effects modes in the unit). i remember playing around w/ that a few times and got some interesting sounds/effects. especially if you set the delays short, to get rhythmic stuff going-
the bad: you can't modulate the time (so no glitching options) if you try, it just stops and resets to whatever new time you set it at, a bummer, but it is a cheap multi-effects box, and is portable.
it does have a tap tempo button, but i would guess if you're using it for live application, you'd want to save as a preset to get it set up, otherwise you'd have to set the 3 individual times, etc.
and the funny thing is: i've had the thing for 3 yrs and still like it. it has some good amp models, good effects, and some good whacky effects options (the wahs, step filter, ring mod)
good luck!
s---





      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">andrew-<br>the boss dd20 does do some delay that allows you 2 independent delay lines for "interesting delay use"-can't remember which mode it was (maybe the tape mode as in 2-heads on old tape machine?)<br>i think i tried to use it once, wasn't something that thrilled me, seemed more complicated than i was willing to mess with (i keep everything at hands reach on a table)<br>for glitching sounds-i thought it was pretty weak, it did not do a budget version of demo of what david torn's lexicon pcm42 unit (which my old dod d12 could do-which is why i loved that thing!)<br>to be fair it could kind of warble the sound, but didn't seem overly usable to me. it really wasn't doing any time pitch-shift that i wanted it to do (slow to fast or fast to slow). yes, it can do 23 sec of delay, but again, that didn't thrill me. hence i put it away when i got an older boss
 rc20.<br><br>a cheap option of rhythmic delays is the zoom g2-you can actually set up 3 different delays in it (they fall under different effects modes in the unit). i remember playing around w/ that a few times and got some interesting sounds/effects. especially if you set the delays short, to get rhythmic stuff going-<br>the bad: you can't modulate the time (so no glitching options) if you try, it just stops and resets to whatever new time you set it at, a bummer, but it is a cheap multi-effects box, and is portable.<br>it does have a tap tempo button, but i would guess if you're using it for live application, you'd want to save as a preset to get it set up, otherwise you'd have to set the 3 individual times, etc.<br>and the funny thing is: i've had the thing for 3 yrs and still like it. it has some good amp models, good effects, and some good whacky effects options (the wahs, step filter, ring mod)<br>good
 luck!<br>s---<br><br><br></td></tr></table><br>

      
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youhou, Warren, very well done!

Andy Butler writes it as one word, so its a new word: LiveLooping
I like that better, too
what do you think?


On 8 Dec 2008, at 11:10, Warren Sirota wrote:

> So, just for the heck of it, I sent a request to create a Live  
> Looping category over at Ubetoo. Here's the reply:
>
> Thanks for your request. I have honestly never heard of Live Looping  
> before,
> but have now added the category to the music categories on our  
> website to
> try it out. Please tell your friends they're welcome to upload. If the
> category hasn't grown enough within the nearest few weeks it may  
> risk being
> removed in the future, same as for all other small categories, so  
> start
> posting! Thanks for the feedback.
>
> So, there should now be a Live Looping category at Ubetoo. I'm going  
> to move my Live Looping pieces over to that category today. So, if  
> you wish to categorize some of your music this way, here is an  
> opportunity.
>
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> http://www.warrensirota.com
>


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">youhou, Warren, very well =
done!<div><br></div><div>Andy Butler writes it as one word, so its a new =
word: LiveLooping</div><div>I like that better, too</div><div>what do =
you think?</div><div><br></div><div><br><div><div>On 8 Dec 2008, at =
11:10, Warren Sirota wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">So, just =
for the heck of it, I sent a request to create a Live Looping category =
over at Ubetoo. Here's the reply: <br><br>Thanks for your request. I =
have honestly never heard of Live Looping before,<br> but have now added =
the category to the music categories on our website to<br> try it out. =
Please tell your friends they're welcome to upload. If the<br> category =
hasn't grown enough within the nearest few weeks it may risk being<br> =
removed in the future, same as for all other small categories, so =
start<br> posting! Thanks for the feedback.<br><br>So, there should now =
be a Live Looping category at Ubetoo. I'm going to move my Live Looping =
pieces over to that category today. So, if you wish to categorize some =
of your music this way, here is an opportunity.<br> <br>Warren<br><a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ubet=
oo.com/Artist.taf?_ArtistId=3D6679</a><br><a =
href=3D"http://www.warrensirota.com">http://www.warrensirota.com</a><br><b=
r></blockquote></div><br></div></body></html>=

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Date: Mon, 8 Dec 2008 12:06:32 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
Sender: warrensirota@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ubetoo Live Looping category
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I don't have an objection to that, not sure i prefer it. but it's not like i
can go back to ubetoo now and get arbitrary about the spelling - feel free
to get myspace or cdbaby or others to add the category as you'd prefer it
spelled. i'll go along with whatever works.

On Mon, Dec 8, 2008 at 11:47 AM, Matthias Grob <matilists@atarde.com.br>wrote:

> youhou, Warren, very well done!
> Andy Butler writes it as one word, so its a new word: LiveLooping
> I like that better, too
> what do you think?
>
>
> On 8 Dec 2008, at 11:10, Warren Sirota wrote:
>
> So, just for the heck of it, I sent a request to create a Live Looping
> category over at Ubetoo. Here's the reply:
>
> Thanks for your request. I have honestly never heard of Live Looping
> before,
> but have now added the category to the music categories on our website to
> try it out. Please tell your friends they're welcome to upload. If the
> category hasn't grown enough within the nearest few weeks it may risk being
> removed in the future, same as for all other small categories, so start
> posting! Thanks for the feedback.
>
> So, there should now be a Live Looping category at Ubetoo. I'm going to
> move my Live Looping pieces over to that category today. So, if you wish to
> categorize some of your music this way, here is an opportunity.
>
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> http://www.warrensirota.com
>
>
>

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I don&#39;t have an objection to that, not sure i prefer it. but it&#39;s not like i can go back to ubetoo now and get arbitrary about the spelling - feel free to get myspace or cdbaby or others to add the category as you&#39;d prefer it spelled. i&#39;ll go along with whatever works.<br>
<br><div class="gmail_quote">On Mon, Dec 8, 2008 at 11:47 AM, Matthias Grob <span dir="ltr">&lt;<a href="mailto:matilists@atarde.com.br">matilists@atarde.com.br</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div style="">youhou, Warren, very well done!<div><br></div><div>Andy Butler writes it as one word, so its a new word: LiveLooping</div><div>I like that better, too</div><div>what do you think?</div><div><div></div><div class="Wj3C7c">
<div><br></div><div><br><div><div>On 8 Dec 2008, at 11:10, Warren Sirota wrote:</div><br><blockquote type="cite">So, just for the heck of it, I sent a request to create a Live Looping category over at Ubetoo. Here&#39;s the reply: <br>
<br>Thanks for your request. I have honestly never heard of Live Looping before,<br> but have now added the category to the music categories on our website to<br> try it out. Please tell your friends they&#39;re welcome to upload. If the<br>
 category hasn&#39;t grown enough within the nearest few weeks it may risk being<br> removed in the future, same as for all other small categories, so start<br> posting! Thanks for the feedback.<br><br>So, there should now be a Live Looping category at Ubetoo. I&#39;m going to move my Live Looping pieces over to that category today. So, if you wish to categorize some of your music this way, here is an opportunity.<br>
 <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679" target="_blank">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com" target="_blank">http://www.warrensirota.com</a><br>
<br></blockquote></div><br></div></div></div></div></blockquote></div><br>

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Subject: Re: # delays, mods, boss, fx loops, moog... for andrew gallasch
Date: Mon, 8 Dec 2008 12:10:47 -0500
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The Boss DD 20 can do separate delays by programming two patches side by =
side. You set one how you like it with time, feedback, etc then when you =
switch it will keep going with whatever you played for as long as the =
feedback was set. 100% is "hold". You can then play on top of that with =
the second delay setting. The only thing is that you can't go back and =
tweak it without killing the loop. Still it's way cool. Lots more about =
the DD 20 at=20
http://www.loopers-delight.com/tools/bossDD20/bossDD20.html
Outside of a couple of little quirks it's not good for glitching as you =
say.=20
The DL 4 can use a really glitchable delay while looping however and =
it's controllable with the expression pedal. Just check out what Genie =
does with one! He plays it with his toes. F'in fantastic stuff.
http://www.youtube.com/watch?v=3DYU52hGo3nNc

Jeff
  ----- Original Message -----=20
  From: scott hansen=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 08, 2008 11:33 AM
  Subject: # delays, mods, boss, fx loops, moog... for andrew gallasch


        andrew-
        the boss dd20 does do some delay that allows you 2 independent =
delay lines for "interesting delay use"-can't remember which mode it was =
(maybe the tape mode as in 2-heads on old tape machine?)
        i think i tried to use it once, wasn't something that thrilled =
me, seemed more complicated than i was willing to mess with (i keep =
everything at hands reach on a table)
        for glitching sounds-i thought it was pretty weak, it did not do =
a budget version of demo of what david torn's lexicon pcm42 unit (which =
my old dod d12 could do-which is why i loved that thing!)
        to be fair it could kind of warble the sound, but didn't seem =
overly usable to me. it really wasn't doing any time pitch-shift that i =
wanted it to do (slow to fast or fast to slow). yes, it can do 23 sec of =
delay, but again, that didn't thrill me. hence i put it away when i got =
an older boss rc20.

        a cheap option of rhythmic delays is the zoom g2-you can =
actually set up 3 different delays in it (they fall under different =
effects modes in the unit). i remember playing around w/ that a few =
times and got some interesting sounds/effects. especially if you set the =
delays short, to get rhythmic stuff going-
        the bad: you can't modulate the time (so no glitching options) =
if you try, it just stops and resets to whatever new time you set it at, =
a bummer, but it is a cheap multi-effects box, and is portable.
        it does have a tap tempo button, but i would guess if you're =
using it for live application, you'd want to save as a preset to get it =
set up, otherwise you'd have to set the 3 individual times, etc.
        and the funny thing is: i've had the thing for 3 yrs and still =
like it. it has some good amp models, good effects, and some good whacky =
effects options (the wahs, step filter, ring mod)
        good luck!
        s---


      =20




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



  No virus found in this incoming message.
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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>
<DIV><FONT face=3DArial size=3D2>The Boss DD 20 can do separate delays =
by=20
programming two patches side by side. You set one how you like it with =
time,=20
feedback, etc then when you switch&nbsp;it will keep going with whatever =
you=20
played for as long as the feedback was set. 100% is "hold". You can then =
play on=20
top of that with the second delay setting. The only thing is that you =
can't go=20
back and tweak it without killing the loop. Still it's way cool. Lots =
more about=20
the DD 20 at </FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.loopers-delight.com/tools/bossDD20/bossDD20.html">http=
://www.loopers-delight.com/tools/bossDD20/bossDD20.html</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Outside of a couple of little quirks =
it's not good=20
for glitching as you say. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>The DL 4 can use a really glitchable =
delay while=20
looping however and it's controllable with the expression pedal. Just =
check out=20
what Genie does with one! He plays it with his toes. F'in fantastic=20
stuff.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3DYU52hGo3nNc">http://www.youtube.=
com/watch?v=3DYU52hGo3nNc</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</FONT></DIV></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=3Devanpeewee@yahoo.com =
href=3D"mailto:evanpeewee@yahoo.com">scott=20
  hansen</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, December 08, 2008 =
11:33=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> # delays, mods, boss, =
fx loops,=20
  moog... for andrew gallasch</DIV>
  <DIV><BR></DIV>
  <TABLE cellSpacing=3D0 cellPadding=3D0 border=3D0>
    <TBODY>
    <TR>
      <TD vAlign=3Dtop>andrew-<BR>the boss dd20 does do some delay that =
allows=20
        you 2 independent delay lines for "interesting delay use"-can't =
remember=20
        which mode it was (maybe the tape mode as in 2-heads on old tape =

        machine?)<BR>i think i tried to use it once, wasn't something =
that=20
        thrilled me, seemed more complicated than i was willing to mess =
with (i=20
        keep everything at hands reach on a table)<BR>for glitching =
sounds-i=20
        thought it was pretty weak, it did not do a budget version of =
demo of=20
        what david torn's lexicon pcm42 unit (which my old dod d12 could =

        do-which is why i loved that thing!)<BR>to be fair it could kind =
of=20
        warble the sound, but didn't seem overly usable to me. it really =
wasn't=20
        doing any time pitch-shift that i wanted it to do (slow to fast =
or fast=20
        to slow). yes, it can do 23 sec of delay, but again, that didn't =
thrill=20
        me. hence i put it away when i got an older boss rc20.<BR><BR>a =
cheap=20
        option of rhythmic delays is the zoom g2-you can actually set up =
3=20
        different delays in it (they fall under different effects modes =
in the=20
        unit). i remember playing around w/ that a few times and got =
some=20
        interesting sounds/effects. especially if you set the delays =
short, to=20
        get rhythmic stuff going-<BR>the bad: you can't modulate the =
time (so no=20
        glitching options) if you try, it just stops and resets to =
whatever new=20
        time you set it at, a bummer, but it is a cheap multi-effects =
box, and=20
        is portable.<BR>it does have a tap tempo button, but i would =
guess if=20
        you're using it for live application, you'd want to save as a =
preset to=20
        get it set up, otherwise you'd have to set the 3 individual =
times,=20
        etc.<BR>and the funny thing is: i've had the thing for 3 yrs and =
still=20
        like it. it has some good amp models, good effects, and some =
good whacky=20
        effects options (the wahs, step filter, ring mod)<BR>good=20
        luck!<BR>s---<BR><BR><BR></TD></TR></TBODY></TABLE><BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.15/1835 -=20
  Release Date: 12/7/2008 4:56 PM<BR></BLOCKQUOTE></BODY></HTML>

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Date: Mon, 8 Dec 2008 18:12:47 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ubetoo Live Looping category
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But isn't that category tagging at the Ubetoo site supposed to give
hints about musical genre?  "Live Looping" is not a genre but a
technique, an instrument or a kind of gear. I think it only confuses
listeners to mix things up.

If the site should also be using a complementary way of tagging pieces
- like for example "acapella", "non amplified",  "piano", "saxophone",
"duo", "quartet" etc - then I think Live Looping should have fitted in
there, but not among the genres.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Mon, Dec 8, 2008 at 5:47 PM, Matthias Grob <matilists@atarde.com.br> wrote:
> youhou, Warren, very well done!
> Andy Butler writes it as one word, so its a new word: LiveLooping
> I like that better, too
> what do you think?
>
> On 8 Dec 2008, at 11:10, Warren Sirota wrote:
>
> So, just for the heck of it, I sent a request to create a Live Looping
> category over at Ubetoo. Here's the reply:
>
> Thanks for your request. I have honestly never heard of Live Looping before,
> but have now added the category to the music categories on our website to
> try it out. Please tell your friends they're welcome to upload. If the
> category hasn't grown enough within the nearest few weeks it may risk being
> removed in the future, same as for all other small categories, so start
> posting! Thanks for the feedback.
>
> So, there should now be a Live Looping category at Ubetoo. I'm going to move
> my Live Looping pieces over to that category today. So, if you wish to
> categorize some of your music this way, here is an opportunity.
>
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> http://www.warrensirota.com
>
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 17:56:31 2008
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I used "livelooping" for my cd, (all lowercase)
but "Festival of Live Looping" for events.

...I don't have any claims on the single word version,
and don't know why I used it really :-)


A made up word is better for search engines,
..but only if people know it 



andybutler

Warren Sirota wrote:
> I don't have an objection to that, not sure i prefer it. but it's not 
> like i can go back to ubetoo now and get arbitrary about the spelling - 
> feel free to get myspace or cdbaby or others to add the category as 
> you'd prefer it spelled. i'll go along with whatever works.
> 
> On Mon, Dec 8, 2008 at 11:47 AM, Matthias Grob <matilists@atarde.com.br 
> <mailto:matilists@atarde.com.br>> wrote:
> 
>     youhou, Warren, very well done!
> 
>     Andy Butler writes it as one word, so its a new word: LiveLooping
>     I like that better, too
>     what do you think?
> 
> 

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From: "Warren Sirota" <wsirota@wsdesigns.com>
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yeah, but (with all due respect), so what? it's an experiment. i think the
term means something, even if the exact defn is a bit fuzzy - maybe that's
the whole point. i think maybe there's value in having the term appear in
the category drop-down, as a way of shoehorning it into public consciousness
a bit. maybe there's no value in that, but i think there might be.

On Mon, Dec 8, 2008 at 12:12 PM, Per Boysen <perboysen@gmail.com> wrote:

> But isn't that category tagging at the Ubetoo site supposed to give
> hints about musical genre?  "Live Looping" is not a genre but a
> technique, an instrument or a kind of gear. I think it only confuses
> listeners to mix things up.
>
> If the site should also be using a complementary way of tagging pieces
> - like for example "acapella", "non amplified",  "piano", "saxophone",
> "duo", "quartet" etc - then I think Live Looping should have fitted in
> there, but not among the genres.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
>
> On Mon, Dec 8, 2008 at 5:47 PM, Matthias Grob <matilists@atarde.com.br>
> wrote:
> > youhou, Warren, very well done!
> > Andy Butler writes it as one word, so its a new word: LiveLooping
> > I like that better, too
> > what do you think?
> >
> > On 8 Dec 2008, at 11:10, Warren Sirota wrote:
> >
> > So, just for the heck of it, I sent a request to create a Live Looping
> > category over at Ubetoo. Here's the reply:
> >
> > Thanks for your request. I have honestly never heard of Live Looping
> before,
> > but have now added the category to the music categories on our website to
> > try it out. Please tell your friends they're welcome to upload. If the
> > category hasn't grown enough within the nearest few weeks it may risk
> being
> > removed in the future, same as for all other small categories, so start
> > posting! Thanks for the feedback.
> >
> > So, there should now be a Live Looping category at Ubetoo. I'm going to
> move
> > my Live Looping pieces over to that category today. So, if you wish to
> > categorize some of your music this way, here is an opportunity.
> >
> > Warren
> > http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> > http://www.warrensirota.com
> >
> >
> >
>
>


-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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yeah, but (with all due respect), so what? it&#39;s an experiment. i think the term means something, even if the exact defn is a bit fuzzy - maybe that&#39;s the whole point. i think maybe there&#39;s value in having the term appear in the category drop-down, as a way of shoehorning it into public consciousness a bit. maybe there&#39;s no value in that, but i think there might be. <br>
<br><div class="gmail_quote">On Mon, Dec 8, 2008 at 12:12 PM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
But isn&#39;t that category tagging at the Ubetoo site supposed to give<br>
hints about musical genre? &nbsp;&quot;Live Looping&quot; is not a genre but a<br>
technique, an instrument or a kind of gear. I think it only confuses<br>
listeners to mix things up.<br>
<br>
If the site should also be using a complementary way of tagging pieces<br>
- like for example &quot;acapella&quot;, &quot;non amplified&quot;, &nbsp;&quot;piano&quot;, &quot;saxophone&quot;,<br>
&quot;duo&quot;, &quot;quartet&quot; etc - then I think Live Looping should have fitted in<br>
there, but not among the genres.<br>
<br>
Greetings from Sweden<br>
<font color="#888888"><br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
</font><div><div></div><div class="Wj3C7c"><br>
<br>
<br>
<br>
On Mon, Dec 8, 2008 at 5:47 PM, Matthias Grob &lt;<a href="mailto:matilists@atarde.com.br">matilists@atarde.com.br</a>&gt; wrote:<br>
&gt; youhou, Warren, very well done!<br>
&gt; Andy Butler writes it as one word, so its a new word: LiveLooping<br>
&gt; I like that better, too<br>
&gt; what do you think?<br>
&gt;<br>
&gt; On 8 Dec 2008, at 11:10, Warren Sirota wrote:<br>
&gt;<br>
&gt; So, just for the heck of it, I sent a request to create a Live Looping<br>
&gt; category over at Ubetoo. Here&#39;s the reply:<br>
&gt;<br>
&gt; Thanks for your request. I have honestly never heard of Live Looping before,<br>
&gt; but have now added the category to the music categories on our website to<br>
&gt; try it out. Please tell your friends they&#39;re welcome to upload. If the<br>
&gt; category hasn&#39;t grown enough within the nearest few weeks it may risk being<br>
&gt; removed in the future, same as for all other small categories, so start<br>
&gt; posting! Thanks for the feedback.<br>
&gt;<br>
&gt; So, there should now be a Live Looping category at Ubetoo. I&#39;m going to move<br>
&gt; my Live Looping pieces over to that category today. So, if you wish to<br>
&gt; categorize some of your music this way, here is an opportunity.<br>
&gt;<br>
&gt; Warren<br>
&gt; <a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679" target="_blank">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br>
&gt; <a href="http://www.warrensirota.com" target="_blank">http://www.warrensirota.com</a><br>
&gt;<br>
&gt;<br>
&gt;<br>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>


------=_Part_73078_23077062.1228761754795--

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 19:01:52 2008
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Date: Mon, 8 Dec 2008 20:01:50 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ubetoo Live Looping category
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Of course, you're totally right about that. Anyone is free to call
his/her music whatever he/she thinks fits the bill.

per


On Mon, Dec 8, 2008 at 7:42 PM, Warren Sirota <wsirota@wsdesigns.com> wrote:
> yeah, but (with all due respect), so what? it's an experiment. i think the
> term means something, even if the exact defn is a bit fuzzy - maybe that's
> the whole point. i think maybe there's value in having the term appear in
> the category drop-down, as a way of shoehorning it into public consciousness
> a bit. maybe there's no value in that, but i think there might be.
>
> On Mon, Dec 8, 2008 at 12:12 PM, Per Boysen <perboysen@gmail.com> wrote:
>>
>> But isn't that category tagging at the Ubetoo site supposed to give
>> hints about musical genre?  "Live Looping" is not a genre but a
>> technique, an instrument or a kind of gear. I think it only confuses
>> listeners to mix things up.
>>
>> If the site should also be using a complementary way of tagging pieces
>> - like for example "acapella", "non amplified",  "piano", "saxophone",
>> "duo", "quartet" etc - then I think Live Looping should have fitted in
>> there, but not among the genres.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>>
>> On Mon, Dec 8, 2008 at 5:47 PM, Matthias Grob <matilists@atarde.com.br>
>> wrote:
>> > youhou, Warren, very well done!
>> > Andy Butler writes it as one word, so its a new word: LiveLooping
>> > I like that better, too
>> > what do you think?
>> >
>> > On 8 Dec 2008, at 11:10, Warren Sirota wrote:
>> >
>> > So, just for the heck of it, I sent a request to create a Live Looping
>> > category over at Ubetoo. Here's the reply:
>> >
>> > Thanks for your request. I have honestly never heard of Live Looping
>> > before,
>> > but have now added the category to the music categories on our website
>> > to
>> > try it out. Please tell your friends they're welcome to upload. If the
>> > category hasn't grown enough within the nearest few weeks it may risk
>> > being
>> > removed in the future, same as for all other small categories, so start
>> > posting! Thanks for the feedback.
>> >
>> > So, there should now be a Live Looping category at Ubetoo. I'm going to
>> > move
>> > my Live Looping pieces over to that category today. So, if you wish to
>> > categorize some of your music this way, here is an opportunity.
>> >
>> > Warren
>> > http://www.ubetoo.com/Artist.taf?_ArtistId=6679
>> > http://www.warrensirota.com
>> >
>> >
>> >
>>
>
>
>
> --
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> http://www.warrensirota.com
>

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 19:31:53 2008
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        <Loopers-Delight@loopers-delight.com>
References: <d1396fc00812072307m18cf7713sd71098de8b3ce66b@mail.gmail.com>
Subject: RE: Pearce Amp manual?
Date: Mon, 8 Dec 2008 11:31:49 -0800
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The dip switches are  gain and eq presets, that give the pre-amp more
distortion and more top end edge, and or bass response. There are a pair for
each channel as I recall. I believe these are based on mods done for
guitarist Ronnie Montrose, who along with Alan Holdsworth and Ty Tabor from
King's X, were Pearce's most visible endorsers. I believe Andy Summers and
David Torn used them as well. I had the preamp version of your amp, and
before than I had a non stereo G1B, mounted in a cabinet and an A-I power
amp mounted in a separate cabinet both driving EV speakers.  A real stereo
rig.  Incidentally I still have an original pearce single button foot switch
for channel switching if you need one. I'll let it go cheap even though by
now, it's, you know, "Vintage". The only guy I know that might have one is
Bill Delap, the Monterey based builder who made custom guitars for
Holdsworth for several years before Alan took essentially the design Bill D.
helped create, and brought it to Carvin to make an Allan Holdsworth model.
That would be the Fatboy chambered guitar. Bill Delap is hard to reach and I
don't believe has a web site, but as far as I know, Alan gave him a punch of
Pearce gear, and he has collected that stuff for a long time. Pearce amps
are very good quality, as good a solid state amp as you will find for
guitar, smooth creamy distortion, great clean sounds, a built in limiter
that really works. The only downside of the later models was a tendency for
the Alesis designed digital effects to stop working due to, I believe faulty
ribbon cable issues. The good news is this circuit can be disabled and the
amp will still work fine. Last I heard, Dan Pearce was working at ART but
that was ten years ago.

 Good Luck

 Bill

 

  _____  

From: Travis Hartnett [mailto:travishartnett@gmail.com] 
Sent: Sunday, December 07, 2008 11:08 PM
To: LD
Subject: OT: Pearce Amp manual?

 

I just picked up a Pearce G2r, and I'm having no luck googling up a manual.
Anyone have any info on exactly what the front panel DIP switches do?
Off-list answer probably best in this case.

Thanks,

Travis Hartnett


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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'>The dip switches are &nbsp;gain and =
eq
presets, that give the pre-amp more distortion and more top end edge, =
and or
bass response. There are a pair for each channel as I recall. I believe =
these
are based on mods done for guitarist Ronnie Montrose, who along with =
Alan Holdsworth
and Ty Tabor from King&#8217;s X, were Pearce&#8217;s most visible =
endorsers. I
believe Andy Summers and David Torn used them as well. I had the preamp =
version
of your amp, and before than I had a non stereo G1B, mounted in a =
cabinet and
an A-I power amp mounted in a separate cabinet both driving EV =
speakers.&nbsp; A
real stereo rig. &nbsp;Incidentally I still have an original pearce =
single
button foot switch for channel switching if you need one. I&#8217;ll let =
it go
cheap even though by now, it&#8217;s, you know, &#8220;Vintage&#8221;. =
The only
guy I know that might have one is Bill Delap, the Monterey based builder =
who
made custom guitars for Holdsworth for several years before Alan took =
essentially
the design Bill D. helped create, and brought it to Carvin to make an =
Allan Holdsworth
model. That would be the Fatboy chambered guitar. Bill Delap is hard to =
reach
and I don&#8217;t believe has a web site, but as far as I know, Alan =
gave him a
punch of Pearce gear, and he has collected that stuff for a long time. =
Pearce amps
are very good quality, as good a solid state amp as you will find for =
guitar,
smooth creamy distortion, great clean sounds, a built in limiter that =
really
works. The only downside of the later models was a tendency for the =
Alesis
designed digital effects to stop working due to, I believe faulty ribbon =
cable
issues. The good news is this circuit can be disabled and the amp will =
still
work fine. Last I heard, Dan Pearce was working at ART but that was ten =
years
ago.<o:p></o:p></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;Good =
Luck<o:p></o:p></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;Bill<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

<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'> =
Travis Hartnett
[mailto:travishartnett@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Sunday, December =
07, 2008
11:08 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> LD<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> OT: Pearce Amp =
manual?</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>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>I just picked up a Pearce G2r, and I'm having no luck googling =
up a
manual.&nbsp; Anyone have any info on exactly what the front panel DIP =
switches
do?&nbsp; Off-list answer probably best in this case.<br>
<br>
Thanks,<br>
<br>
Travis Hartnett<o:p></o:p></span></font></p>

</div>

</body>

</html>

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To: <Loopers-Delight@loopers-delight.com>
References: <d1396fc00812072307m18cf7713sd71098de8b3ce66b@mail.gmail.com>
Subject: Re: Pearce Amp manual?
Date: Mon, 8 Dec 2008 15:05:56 -0500
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Here ya go Travis,

http://www.thisphase.org/pics/Pearce.pdf


j
  ----- Original Message -----=20
  From: Travis Hartnett=20
  To: LD=20
  Sent: Monday, December 08, 2008 2:07 AM
  Subject: OT: Pearce Amp manual?


  I just picked up a Pearce G2r, and I'm having no luck googling up a =
manual.  Anyone have any info on exactly what the front panel DIP =
switches do?  Off-list answer probably best in this case.

  Thanks,

  Travis Hartnett



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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.15/1835 - Release Date: =
12/7/2008 4:56 PM

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<DIV><FONT face=3DArial size=3D2>Here ya go Travis,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.thisphase.org/pics/Pearce.pdf">http://www.thisphase.or=
g/pics/Pearce.pdf</A></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>j</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=3Dtravishartnett@gmail.com=20
  href=3D"mailto:travishartnett@gmail.com">Travis Hartnett</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">LD</A> </DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Monday, December 08, 2008 =
2:07=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT: Pearce Amp =
manual?</DIV>
  <DIV><BR></DIV>I just picked up a Pearce G2r, and I'm having no luck =
googling=20
  up a manual.&nbsp; Anyone have any info on exactly what the front =
panel DIP=20
  switches do?&nbsp; Off-list answer probably best in this=20
  case.<BR><BR>Thanks,<BR><BR>Travis Hartnett<BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
- <A=20
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From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 20:11:28 2008
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To:  Loopers-Delight@loopers-delight.com
Subject: Re: Ubetoo Live Looping category
References: <101191640812080610v3e5d3470oc8c1a7a8d7989f43@mail.gmail.com>	 <5B6898E5-8500-4E22-B311-DAB56BBDECC7@atarde.com.br> <66f9cc1e0812080912j5b7565a2mf2deaa451da62ac7@mail.gmail.com>
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Yes,
that's sounds reasonable,

but then I thought I'd check out the other categories.

The first one is.......

.............................Acoustic

:-)


If anyone has suggestions as to how I should categorise
my own music, ...or Per's for that matter, I'd be 
very interested.

andy butler




Per Boysen wrote:
> But isn't that category tagging at the Ubetoo site supposed to give
> hints about musical genre?  "Live Looping" is not a genre but a
> technique, an instrument or a kind of gear. I think it only confuses
> listeners to mix things up.
> 
> If the site should also be using a complementary way of tagging pieces
> - like for example "acapella", "non amplified",  "piano", "saxophone",
> "duo", "quartet" etc - then I think Live Looping should have fitted in
> there, but not among the genres.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
> 

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 22:12:15 2008
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Subject: RE: Kaoss pad 3 LED matrix controller idea for LP1
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Hi,
In case you are interested, I've documented some hints and tips of the
Kaoss pad 3's external controller feature and the Roland FC-300 MFC in
combination with Looperlative LP1. I've installed it on the left side of
my stage piano, I'm controlling the KP3 with my left hand. The good
thing about it is that I have better visual control about what's
happening with the LP1 while looping. Imo a good alternative for
keyboard players or if you want to have a small but very powerful midi
controller and FX unit. 

LP1/FC-300/KP3 hints and tips => http://euroloopfest.com/sjaak/lp1.htm
Picture => http://euroloopfest.com/sjaak/images/lp1_kp3.jpg

Of course, the KP3 also has it's minus. The most annoying thing is that,
once you are in the external midi control mode, you can't use the
internal KP3 effects or play samples... Why? I hope Korg will add that
feature in a future OS version, because that will allow you to create an
initial loop on the LP1 using a KP3 tempo effect (eg delay) and have
them in sync. Because one of the very good things about the LP1 is that
midi sync works perfectly in both master and slave mode so that's not
the issue :)

Btw: Does anyone know were to drop enhancement requests at Korg?
Korg.com? Our local Korg website does not even have a support site
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
 


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"Live Looping" is not a genre but a
technique=2C an instrument or a kind of gear."
=20
  This is certainly logically true=2Chowever consumers are programmed to re=
cognize
  certain sorts of categories.Having a looping category could raise the pro=
files
  of looping artists marketwise. Once the category called World Beat=2C aro=
se even though=20
  the name can seem silly (one critic said it should be called Beige Beat) =
Artists who fit=20
that slot started selling much more. =20

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<pre>"Live Looping" is not a genre but a<br>technique=2C an instrument or a=
 kind of gear."<br> <br>  This is certainly logically true=2Chowever consum=
ers are programmed to recognize<br> &nbsp=3Bcertain sorts of categories.Hav=
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sts marketwise. Once the category called World Beat=2C arose even though <b=
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) Artists who fit <br>that slot started selling much more.  <br></pre></bod=
y>
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From: "Tim Thompson" <tjt@nosuch.com>
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Subject: theturn.tv
Date: Mon, 8 Dec 2008 14:38:22 -0800
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Brilliantly innovative in too many dimensions to count:

     http://theturn.tv

   ...Tim...

From Loopers-Delight-request@loopers-delight.com  Mon Dec  8 23:32:34 2008
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From: Nick <ParadoxQuine@gmail.com>
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Subject: OT: ableton live mapping question
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Hey everyone,

I'm really sorry if this question is a super easy fix and I'm wasting
people's time, but I'm having a shocking amount of trouble finding the
answer to it: how in the world do I map keys on my midi
keyboard/nanopad controller to the impuse/drum rack play triggers so I
can play via the pads? Everything else in the interface seems to let
me make a key mapping except those play buttons for some reason.

Any help is greatly appreciated, sorry again if this question was
annoyingly newbie-esque.

Thanks,
Nick

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 00:04:30 2008
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Date: Tue, 9 Dec 2008 01:04:29 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: ableton live mapping question
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If no one here posts in on that in a couple of minutes you will be
able to find out by doing a search at the Live forum.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Tue, Dec 9, 2008 at 12:32 AM, Nick <ParadoxQuine@gmail.com> wrote:
> Hey everyone,
>
> I'm really sorry if this question is a super easy fix and I'm wasting
> people's time, but I'm having a shocking amount of trouble finding the
> answer to it: how in the world do I map keys on my midi
> keyboard/nanopad controller to the impuse/drum rack play triggers so I
> can play via the pads? Everything else in the interface seems to let
> me make a key mapping except those play buttons for some reason.
>
> Any help is greatly appreciated, sorry again if this question was
> annoyingly newbie-esque.
>
> Thanks,
> Nick
>
>

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 00:36:27 2008
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From: Chris Sewell <midifriedchicken@comcast.net>
Subject: Re: OT: ableton live mapping question
Date: Mon, 8 Dec 2008 19:36:25 -0500
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I think you have to use the midi notes displayed on the drum racks.  
I'm not sure, but you might have to create a midi track and designate  
the destination for said midi as the track you want to control.


On Dec 8, 2008, at 7:04 PM, Per Boysen wrote:

> If no one here posts in on that in a couple of minutes you will be
> able to find out by doing a search at the Live forum.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
>
> On Tue, Dec 9, 2008 at 12:32 AM, Nick <ParadoxQuine@gmail.com> wrote:
>> Hey everyone,
>>
>> I'm really sorry if this question is a super easy fix and I'm wasting
>> people's time, but I'm having a shocking amount of trouble finding  
>> the
>> answer to it: how in the world do I map keys on my midi
>> keyboard/nanopad controller to the impuse/drum rack play triggers  
>> so I
>> can play via the pads? Everything else in the interface seems to let
>> me make a key mapping except those play buttons for some reason.
>>
>> Any help is greatly appreciated, sorry again if this question was
>> annoyingly newbie-esque.
>>
>> Thanks,
>> Nick
>>
>>
>

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 00:57:15 2008
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Date: Tue, 9 Dec 2008 01:57:13 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: ableton live mapping question
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YOu can use one of Live's MIDI plug-in's to remap/transpose MIDI notes
from your controller. Just mentioninig it if you didn't know. A big
time saver!

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Tue, Dec 9, 2008 at 1:36 AM, Chris Sewell
<midifriedchicken@comcast.net> wrote:
> I think you have to use the midi notes displayed on the drum racks. I'm not
> sure, but you might have to create a midi track and designate the
> destination for said midi as the track you want to control.
>
>
> On Dec 8, 2008, at 7:04 PM, Per Boysen wrote:
>
>> If no one here posts in on that in a couple of minutes you will be
>> able to find out by doing a search at the Live forum.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>>
>> On Tue, Dec 9, 2008 at 12:32 AM, Nick <ParadoxQuine@gmail.com> wrote:
>>>
>>> Hey everyone,
>>>
>>> I'm really sorry if this question is a super easy fix and I'm wasting
>>> people's time, but I'm having a shocking amount of trouble finding the
>>> answer to it: how in the world do I map keys on my midi
>>> keyboard/nanopad controller to the impuse/drum rack play triggers so I
>>> can play via the pads? Everything else in the interface seems to let
>>> me make a key mapping except those play buttons for some reason.
>>>
>>> Any help is greatly appreciated, sorry again if this question was
>>> annoyingly newbie-esque.
>>>
>>> Thanks,
>>> Nick
>>>
>>>
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 02:07:36 2008
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Date: Mon, 8 Dec 2008 18:07:34 -0800
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Subject: Re: OT: ableton live mapping question
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It looks like I can map the pads on my nanopad to midi notes that the
drum rack will pick up, I just shouldn't have been using impulse.
Thanks for the help guys!

On Mon, Dec 8, 2008 at 4:57 PM, Per Boysen <perboysen@gmail.com> wrote:
> YOu can use one of Live's MIDI plug-in's to remap/transpose MIDI notes
> from your controller. Just mentioninig it if you didn't know. A big
> time saver!
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
>
> On Tue, Dec 9, 2008 at 1:36 AM, Chris Sewell
> <midifriedchicken@comcast.net> wrote:
>> I think you have to use the midi notes displayed on the drum racks. I'm not
>> sure, but you might have to create a midi track and designate the
>> destination for said midi as the track you want to control.
>>
>>
>> On Dec 8, 2008, at 7:04 PM, Per Boysen wrote:
>>
>>> If no one here posts in on that in a couple of minutes you will be
>>> able to find out by doing a search at the Live forum.
>>>
>>> Greetings from Sweden
>>>
>>> Per Boysen
>>> www.boysen.se (Swedish)
>>> www.looproom.com (international)
>>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>>
>>>
>>>
>>>
>>> On Tue, Dec 9, 2008 at 12:32 AM, Nick <ParadoxQuine@gmail.com> wrote:
>>>>
>>>> Hey everyone,
>>>>
>>>> I'm really sorry if this question is a super easy fix and I'm wasting
>>>> people's time, but I'm having a shocking amount of trouble finding the
>>>> answer to it: how in the world do I map keys on my midi
>>>> keyboard/nanopad controller to the impuse/drum rack play triggers so I
>>>> can play via the pads? Everything else in the interface seems to let
>>>> me make a key mapping except those play buttons for some reason.
>>>>
>>>> Any help is greatly appreciated, sorry again if this question was
>>>> annoyingly newbie-esque.
>>>>
>>>> Thanks,
>>>> Nick
>>>>
>>>>
>>>
>>
>>
>
>

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From: "HSBC Bank Plc"<news@alice.it>
Subject: Security Account Upgrade Notification 
Date: Tue, 9 Dec 2008 03.10.24 +0100
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From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 03:53:24 2008
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Date: Mon, 8 Dec 2008 19:53:23 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: # delays, mods, boss, fx loops, moog... for andrew gallasch
To: Loopers-Delight@loopers-delight.com
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Genie is really cool indeed,how is he looping his voice i dont recall seeing any mixers,is the DL4 all he uses?

www.myspace.com/luisangulocom


--- On Mon, 12/8/08, Jeff Duke <jeff_d@embarqmail.com> wrote:

> From: Jeff Duke <jeff_d@embarqmail.com>
> Subject: Re: # delays, mods, boss, fx loops, moog... for andrew gallasch
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, December 8, 2008, 9:10 AM
> The Boss DD 20 can do separate delays by programming two
> patches side by side. You set one how you like it with time,
> feedback, etc then when you switch it will keep going with
> whatever you played for as long as the feedback was set.
> 100% is "hold". You can then play on top of that
> with the second delay setting. The only thing is that you
> can't go back and tweak it without killing the loop.
> Still it's way cool. Lots more about the DD 20 at 
> http://www.loopers-delight.com/tools/bossDD20/bossDD20.html
> Outside of a couple of little quirks it's not good for
> glitching as you say. 
> The DL 4 can use a really glitchable delay while looping
> however and it's controllable with the expression pedal.
> Just check out what Genie does with one! He plays it with
> his toes. F'in fantastic stuff.
> http://www.youtube.com/watch?v=YU52hGo3nNc
> 
> 


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 04:15:19 2008
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Date: Mon, 8 Dec 2008 20:15:17 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: # delays, mods, boss, fx loops, moog... for andrew gallasch
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I saw him playing on the street in San Francisco, and he had a mic and a
guitar going into a single DL4.  I think he was making use of the dual
inputs on the DL4.

TH

On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo <labaloops@yahoo.com> wrote:

> Genie is really cool indeed,how is he looping his voice i dont recall
> seeing any mixers,is the DL4 all he uses?
>
> www.myspace.com/luisangulocom
>
>
>

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I saw him playing on the street in San Francisco, and he had a mic and a guitar going into a single DL4.&nbsp; I think he was making use of the dual inputs on the DL4.<br><br>TH<br><br><div class="gmail_quote">On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo <span dir="ltr">&lt;<a href="mailto:labaloops@yahoo.com">labaloops@yahoo.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Genie is really cool indeed,how is he looping his voice i dont recall seeing any mixers,is the DL4 all he uses?<br>

<br>
<a href="http://www.myspace.com/luisangulocom" target="_blank">www.myspace.com/luisangulocom</a><br>
<br>
<br></blockquote></div><br>

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Subject: Re: # delays, mods, boss, fx loops, moog... for andrew gallasch
Date: Mon, 8 Dec 2008 23:28:04 -0500
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Think your right Travis, in this vid he is using a couple of other =
boxes, I can't make out what they are.
Both inputs are taken up on the DL 4 so that makes sense.

http://www.youtube.com/watch?v=3DPXMqtk5XtT4

j
  ----- Original Message -----=20
  From: Travis Hartnett=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 08, 2008 11:15 PM
  Subject: Re: # delays, mods, boss, fx loops, moog... for andrew =
gallasch


  I saw him playing on the street in San Francisco, and he had a mic and =
a guitar going into a single DL4.  I think he was making use of the dual =
inputs on the DL4.

  TH


  On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo <labaloops@yahoo.com> wrote:

    Genie is really cool indeed,how is he looping his voice i dont =
recall seeing any mixers,is the DL4 all he uses?

    www.myspace.com/luisangulocom







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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.15/1835 - Release Date: =
12/7/2008 4:56 PM

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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Think your right Travis, in this vid he =
is using a=20
couple of other boxes, I can't make out what they are.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Both inputs are taken up on the DL 4 so =
that makes=20
sense.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3DPXMqtk5XtT4">http://www.youtube.=
com/watch?v=3DPXMqtk5XtT4</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>j</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
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  <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=3Dtravishartnett@gmail.com=20
  href=3D"mailto:travishartnett@gmail.com">Travis Hartnett</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, December 08, 2008 =
11:15=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: # delays, mods, =
boss, fx=20
  loops, moog... for andrew gallasch</DIV>
  <DIV><BR></DIV>I saw him playing on the street in San Francisco, and =
he had a=20
  mic and a guitar going into a single DL4.&nbsp; I think he was making =
use of=20
  the dual inputs on the DL4.<BR><BR>TH<BR><BR>
  <DIV class=3Dgmail_quote>On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo =
<SPAN=20
  dir=3Dltr>&lt;<A=20
  href=3D"mailto:labaloops@yahoo.com">labaloops@yahoo.com</A>&gt;</SPAN> =

wrote:<BR>
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  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Genie=20
    is really cool indeed,how is he looping his voice i dont recall =
seeing any=20
    mixers,is the DL4 all he uses?<BR><BR><A=20
    href=3D"http://www.myspace.com/luisangulocom"=20
    =
target=3D_blank>www.myspace.com/luisangulocom</A><BR><BR><BR></BLOCKQUOTE=
></DIV><BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
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To: Loopers-Delight@loopers-delight.com
Subject: Re: # delays, mods, boss, fx loops, moog... for andrew gallasch
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	 <63797.19155.qm@web38602.mail.mud.yahoo.com>
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On Tue, Dec 9, 2008 at 4:53 AM, L.Angulo <labaloops@yahoo.com> wrote:
> Genie is really cool indeed,how is he looping his voice i dont recall seeing any mixers,is the DL4 all he uses?


Yes, basically. I've seen him live twice and he plugs both a mic and a
guitar into the DL4. I don't know if that is possible, if not I guess
he has some sort of "merger" - maybe a mixer. But he does certainly
not "mix", all blending of sounds are performed by playing the guitar
and the DL4 by hands and feet.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 10:20:27 2008
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Subject: Re: Kaoss pad 3 LED matrix controller idea for LP1
Date: Tue, 9 Dec 2008 11:20:16 +0100
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>I've installed it on the left side of
> my stage piano, I'm controlling the KP3 with my left hand. The good
> thing about it is that I have better visual control about what's
> happening with the LP1 while looping. Imo a good alternative for
> keyboard players or if you want to have a small but very powerful midi
> controller and FX unit.

The same for me: My KP is always on the left of my piano, till I bought it 
in 2005.

> Of course, the KP3 also has it's minus. The most annoying thing is that,
> once you are in the external midi control mode, you can't use the
> internal KP3 effects or play samples... Why?

That's very strange...I use my KP2 to send MIDI data to Mobius,
at the same time i can use its internal effects and/or play sanples.
Are you sure about the fact that the KP3 has this ...."bug" ?

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo



----- Original Message ----- 
From: "Sjaak" <tcplugin@scarlet.be>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, December 08, 2008 11:12 PM
Subject: RE: Kaoss pad 3 LED matrix controller idea for LP1


> Hi,
> In case you are interested, I've documented some hints and tips of the
> Kaoss pad 3's external controller feature and the Roland FC-300 MFC in
> combination with Looperlative LP1. I've installed it on the left side of
> my stage piano, I'm controlling the KP3 with my left hand. The good
> thing about it is that I have better visual control about what's
> happening with the LP1 while looping. Imo a good alternative for
> keyboard players or if you want to have a small but very powerful midi
> controller and FX unit.
>
> LP1/FC-300/KP3 hints and tips => http://euroloopfest.com/sjaak/lp1.htm
> Picture => http://euroloopfest.com/sjaak/images/lp1_kp3.jpg
>
> Of course, the KP3 also has it's minus. The most annoying thing is that,
> once you are in the external midi control mode, you can't use the
> internal KP3 effects or play samples... Why? I hope Korg will add that
> feature in a future OS version, because that will allow you to create an
> initial loop on the LP1 using a KP3 tempo effect (eg delay) and have
> them in sync. Because one of the very good things about the LP1 is that
> midi sync works perfectly in both master and slave mode so that's not
> the issue :)
>
> Btw: Does anyone know were to drop enhancement requests at Korg?
> Korg.com? Our local Korg website does not even have a support site
> --- 
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
>
>
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
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18.16

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 10:45:08 2008
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> That's very strange...I use my KP2 to send MIDI data to Mobius,
> at the same time i can use its internal effects and/or play sanples.
> Are you sure about the fact that the KP3 has this ...."bug" ?

Fabio, thanks for your info. It's really weird that it does work with the=
 Kp2. Btw: to be sure, I just checked my Kp3 manual, it says: "Ext.Ctrl =3D=
> This lets you use the Kp3 as a MIDI controller. The effects will not fu=
nction in this mode". 

You would expect that manufacturers enhance their products in stead of re=
moving useful functionality when releasing new models.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 11:16:22 2008
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Date: Tue, 9 Dec 2008 12:16:20 +0100
From: "mark francombe" <mark@markfrancombe.com>
Sender: markfrancombe@gmail.com
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: Any suggestions for side of rack surfaces...
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Hi!

After just getting a new rack (mixer rack 10U across the top and 6 down) I
suddenly realize that my old rack drawer solution for my "table-top"
items... just aint gonna work, and I was thinking... what if there was some
kinda clever "clip-on" side table, or "wings" that I could pull out and clip
on to either side of my rack creating a flat surface for kaos pad / AirFX
kind of things... The items themselves could easily be stored in a
compartment in the lid of the rack, and cabling could be all up and ready to
pull out... so I think it could work well... but DIY not being my strong
point (ask the wife) something... that can hook over the edge of the side of
a open topped rack...

Seen anything?

M

-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Hi!<br><br>After just getting a new rack (mixer rack 10U across the top and 6 down) I suddenly realize that my old rack drawer solution for my &quot;table-top&quot; items... just aint gonna work, and I was thinking... what if there was some kinda clever &quot;clip-on&quot; side table, or &quot;wings&quot; that I could pull out and clip on to either side of my rack creating a flat surface for kaos pad / AirFX kind of things... The items themselves could easily be stored in a compartment in the lid of the rack, and cabling could be all up and ready to pull out... so I think it could work well... but DIY not being my strong point (ask the wife) something... that can hook over the edge of the side of a open topped rack...<br>
<br>Seen anything?<br><br>M<br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

------=_Part_107103_19986712.1228821380330--

From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 15:34:29 2008
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Date: Tue, 9 Dec 2008 10:34:28 -0500
From: "Todd Lainhart" <tlainhart@gmail.com>
To: billwalker@baymoon.com
Subject: Re: Pearce Amp manual?
Cc: "Travis Hartnett" <travishartnett@gmail.com>, 
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I've got a Pearce G1.7, which is a G1 modded by Dan to be a G2 (my words -
he called it the "David Torn" modification).  I don't have the G2 manual,
but I've got some Pearce documentation scanned here that might be helpful.
I too like the amp.

http://lainhart.net/Pearce/pearce.pdf

I believe that Dan Pearce works at Bose, at least, as of a year or so ago.

On Mon, Dec 8, 2008 at 2:31 PM, William Walker <billwalker@baymoon.com>wrote:

>  The dip switches are  gain and eq presets, that give the pre-amp more
> distortion and more top end edge, and or bass response. There are a pair for
> each channel as I recall. I believe these are based on mods done for
> guitarist Ronnie Montrose, who along with Alan Holdsworth and Ty Tabor from
> King's X, were Pearce's most visible endorsers. I believe Andy Summers and
> David Torn used them as well. I had the preamp version of your amp, and
> before than I had a non stereo G1B, mounted in a cabinet and an A-I power
> amp mounted in a separate cabinet both driving EV speakers.  A real stereo
> rig.  Incidentally I still have an original pearce single button foot switch
> for channel switching if you need one. I'll let it go cheap even though by
> now, it's, you know, "Vintage". The only guy I know that might have one is
> Bill Delap, the Monterey based builder who made custom guitars for
> Holdsworth for several years before Alan took essentially the design Bill D.
> helped create, and brought it to Carvin to make an Allan Holdsworth model.
> That would be the Fatboy chambered guitar. Bill Delap is hard to reach and I
> don't believe has a web site, but as far as I know, Alan gave him a punch of
> Pearce gear, and he has collected that stuff for a long time. Pearce amps
> are very good quality, as good a solid state amp as you will find for
> guitar, smooth creamy distortion, great clean sounds, a built in limiter
> that really works. The only downside of the later models was a tendency for
> the Alesis designed digital effects to stop working due to, I believe faulty
> ribbon cable issues. The good news is this circuit can be disabled and the
> amp will still work fine. Last I heard, Dan Pearce was working at ART but
> that was ten years ago.
>
>  Good Luck
>
>  Bill
>
>
>  ------------------------------
>
> *From:* Travis Hartnett [mailto:travishartnett@gmail.com]
> *Sent:* Sunday, December 07, 2008 11:08 PM
> *To:* LD
> *Subject:* OT: Pearce Amp manual?
>
>
>
> I just picked up a Pearce G2r, and I'm having no luck googling up a
> manual.  Anyone have any info on exactly what the front panel DIP switches
> do?  Off-list answer probably best in this case.
>
> Thanks,
>
> Travis Hartnett
>

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I&#39;ve got a Pearce G1.7, which is a G1 modded by Dan to be a G2 (my words - he called it the &quot;David Torn&quot; modification).&nbsp; I don&#39;t have the G2 manual, but I&#39;ve got some Pearce documentation scanned here that might be helpful.&nbsp; I too like the amp.<br>
<br><a href="http://lainhart.net/Pearce/pearce.pdf">http://lainhart.net/Pearce/pearce.pdf</a><br><br>I believe that Dan Pearce works at Bose, at least, as of a year or so ago.<br><br><div class="gmail_quote">On Mon, Dec 8, 2008 at 2:31 PM, William Walker <span dir="ltr">&lt;<a href="mailto:billwalker@baymoon.com">billwalker@baymoon.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">









<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><font color="navy" size="2" face="Arial"><span style="font-size: 10pt; font-family: Arial; color: navy;">The dip switches are &nbsp;gain and eq
presets, that give the pre-amp more distortion and more top end edge, and or
bass response. There are a pair for each channel as I recall. I believe these
are based on mods done for guitarist Ronnie Montrose, who along with Alan Holdsworth
and Ty Tabor from King's X, were Pearce's most visible endorsers. I
believe Andy Summers and David Torn used them as well. I had the preamp version
of your amp, and before than I had a non stereo G1B, mounted in a cabinet and
an A-I power amp mounted in a separate cabinet both driving EV speakers.&nbsp; A
real stereo rig. &nbsp;Incidentally I still have an original pearce single
button foot switch for channel switching if you need one. I'll let it go
cheap even though by now, it's, you know, "Vintage". The only
guy I know that might have one is Bill Delap, the Monterey based builder who
made custom guitars for Holdsworth for several years before Alan took essentially
the design Bill D. helped create, and brought it to Carvin to make an Allan Holdsworth
model. That would be the Fatboy chambered guitar. Bill Delap is hard to reach
and I don't believe has a web site, but as far as I know, Alan gave him a
punch of Pearce gear, and he has collected that stuff for a long time. Pearce amps
are very good quality, as good a solid state amp as you will find for guitar,
smooth creamy distortion, great clean sounds, a built in limiter that really
works. The only downside of the later models was a tendency for the Alesis
designed digital effects to stop working due to, I believe faulty ribbon cable
issues. The good news is this circuit can be disabled and the amp will still
work fine. Last I heard, Dan Pearce was working at ART but that was ten years
ago.</span></font></p>

<p><font color="navy" size="2" face="Arial"><span style="font-size: 10pt; font-family: Arial; color: navy;">&nbsp;Good Luck</span></font></p>

<p><font color="navy" size="2" face="Arial"><span style="font-size: 10pt; font-family: Arial; color: navy;">&nbsp;Bill</span></font></p>

<p><font color="navy" size="2" face="Arial"><span style="font-size: 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<div>

<div style="text-align: center;" align="center"><font size="3" face="Times New Roman"><span style="font-size: 12pt;">

<hr align="center" size="2" width="100%">

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

<p><b><font size="2" face="Tahoma"><span style="font-size: 10pt; font-family: Tahoma; font-weight: bold;">From:</span></font></b><font size="2" face="Tahoma"><span style="font-size: 10pt; font-family: Tahoma;"> Travis Hartnett
[mailto:<a href="mailto:travishartnett@gmail.com" target="_blank">travishartnett@gmail.com</a>] <br>
<b><span style="font-weight: bold;">Sent:</span></b> Sunday, December 07, 2008
11:08 PM<br>
<b><span style="font-weight: bold;">To:</span></b> LD<br>
<b><span style="font-weight: bold;">Subject:</span></b> OT: Pearce Amp manual?</span></font></p>

</div>

<p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">&nbsp;</span></font></p>

<p><font size="3" face="Times New Roman"><span style="font-size: 12pt;">I just picked up a Pearce G2r, and I&#39;m having no luck googling up a
manual.&nbsp; Anyone have any info on exactly what the front panel DIP switches
do?&nbsp; Off-list answer probably best in this case.<br>
<br>
Thanks,<br>
<br>
Travis Hartnett</span></font></p>

</div>

</div>


</blockquote></div><br>

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thanks for sending that link-on genie looping. some interesting stuff.
funny thing it looks like he's also using a digitech rp100, but it may be o=
ne of the smaller rp models that sell for like 70$ or so, can't quite tell =
the size of the unit in the vid.
funny to see though.
he certainly gets some great sounds!!!!
s----


Think your right Travis, in this vid he is using a=20
couple of other boxes, I can't make out what they are.
Both inputs are taken up on the DL 4 so that makes=20
sense.
=A0
http://www.youtube.com/watch?v=3DPXMqtk5XtT4
=A0=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><div><font size="2" face="Arial">thanks for sending that link-on genie looping. some interesting stuff.<br>funny thing it looks like he's also using a digitech rp100, but it may be one of the smaller rp models that sell for like 70$ or so, can't quite tell the size of the unit in the vid.<br>funny to see though.<br>he certainly gets some great sounds!!!!<br>s----<br><br><br>Think your right Travis, in this vid he is using a 
couple of other boxes, I can't make out what they are.</font></div>
<div><font size="2" face="Arial">Both inputs are taken up on the DL 4 so that makes 
sense.</font></div>
<div>&nbsp;</div>
<div><font size="2" face="Arial"><a href="http://www.youtube.com/watch?v=PXMqtk5XtT4">http://www.youtube.com/watch?v=PXMqtk5XtT4</a></font></div>
<div>&nbsp;</div></td></tr></table><br>

      
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Date: Tue, 9 Dec 2008 10:20:04 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: awesome deal on Sennheiser HD650!
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I just got mine yesterday, and I must say, they are everything people say they are. I woulnd't have gotten them at their regular price (400-500 dollars) but J&R is having a sale. You have to email them for a link. I got mine for 320. Really a great deal, and an nvestment in recording.

http://www.jr.com/sennheiser/pe/SEN_HD650/

I'm sure there's a couple of people on the list that want these as well!

-George


      
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><DIV>I just got mine yesterday, and I must say, they are everything people say they are. I woulnd't have gotten them at their regular price (400-500 dollars) but J&amp;R is having a sale. You have to email them for a link. I got mine for 320. Really a great deal, and an nvestment in recording.</DIV>
<DIV>&nbsp;</DIV>
<DIV><A href="http://www.jr.com/sennheiser/pe/SEN_HD650/">http://www.jr.com/sennheiser/pe/SEN_HD650/</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>I'm sure there's a couple of people on the list that want these as well!</DIV>
<DIV>&nbsp;</DIV>
<DIV>-George</DIV></div><br>

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FROM, MR JAMES SAKATO
BILL AND EXCHANGE OFFICER, 
AFRICAN, DEVELOPMENT BANK 
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From Loopers-Delight-request@loopers-delight.com  Tue Dec  9 22:16:00 2008
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andy butler schrieb:
>> Hmm why do you think its a leaky capacitor?
> 
> Electrolytic Capacitors on the the various power rails
> are likely components to fail.
> Also diodes in the power regulation, but that's more obvious
> to find.

The most likely thing to fail in any electrical device is connectors, 
cable connectors, or IC connections. Open the box and give all 
connectors good sex. (You know, push'em in and out till they scream). 
Only if that fails smell and look for blown parts...
(Looping devices are like loopers, only if sex doesn't help you have to 
go to the doctor...)

Stefan

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

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Well thank you for that Stefan... love the analogy...
I would go with your ideas but my vortex does sem to have an odd problem, i=
n
that a "reboot" fixes the problem for a while, untill I rotate an encoder,
and not always... if i leave it on a patch, no problems... the echos will
never disappear... it only when I twiddle my knob... (damn that analogy)

m



On Tue, Dec 9, 2008 at 11:15 PM, Stefan Tiedje
<stefantiedje@googlemail.com>wrote:

> andy butler schrieb:
>
>> Hmm why do you think its a leaky capacitor?
>>>
>>
>> Electrolytic Capacitors on the the various power rails
>> are likely components to fail.
>> Also diodes in the power regulation, but that's more obvious
>> to find.
>>
>
> The most likely thing to fail in any electrical device is connectors, cab=
le
> connectors, or IC connections. Open the box and give all connectors good
> sex. (You know, push'em in and out till they scream). Only if that fails
> smell and look for blown parts...
> (Looping devices are like loopers, only if sex doesn't help you have to g=
o
> to the doctor...)
>
> Stefan
>
> --
> Les Ondes M=E9morielles----x-------
> --_____-----------|--------------
> --(_|_ ----|\-----|-----()-------
> -- _|_)----|-----()--------------
> ----------()----------TJ Shredder
>
>


--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Well thank you for that Stefan... love the analogy... <br>I would go with y=
our ideas but my vortex does sem to have an odd problem, in that a &quot;re=
boot&quot; fixes the problem for a while, untill I rotate an encoder, and n=
ot always... if i leave it on a patch, no problems... the echos will never =
disappear... it only when I twiddle my knob... (damn that analogy)<br>
<br>m <br><br><br><br><div class=3D"gmail_quote">On Tue, Dec 9, 2008 at 11:=
15 PM, Stefan Tiedje <span dir=3D"ltr">&lt;<a href=3D"mailto:stefantiedje@g=
ooglemail.com">stefantiedje@googlemail.com</a>&gt;</span> wrote:<br><blockq=
uote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 20=
4); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
andy butler schrieb:<div class=3D"Ih2E3d"><br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><blockquote class=
=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); margin=
: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">

Hmm why do you think its a leaky capacitor?<br>
</blockquote>
<br>
Electrolytic Capacitors on the the various power rails<br>
are likely components to fail.<br>
Also diodes in the power regulation, but that&#39;s more obvious<br>
to find.<br>
</blockquote>
<br></div>
The most likely thing to fail in any electrical device is connectors, cable=
 connectors, or IC connections. Open the box and give all connectors good s=
ex. (You know, push&#39;em in and out till they scream). Only if that fails=
 smell and look for blown parts...<br>

(Looping devices are like loopers, only if sex doesn&#39;t help you have to=
 go to the doctor...)<br>
<br>
Stefan<br><font color=3D"#888888">
<br>
-- <br>
Les Ondes M=E9morielles----x-------<br>
--_____-----------|--------------<br>
--(_|_ ----|\-----|-----()-------<br>
-- _|_)----|-----()--------------<br>
----------()----------TJ Shredder<br>
<br>
</font></blockquote></div><br><br clear=3D"all"><br>-- <br><a href=3D"http:=
//www.markfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://vim=
eo.com/user825094">http://vimeo.com/user825094</a><br><a href=3D"http://uk.=
youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a=
><br>
<a href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mar=
kfrancombe</a><br><a href=3D"http://www.looop.no">www.looop.no</a><br>

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Date: Tue, 9 Dec 2008 16:08:15 -0800 (PST)
From: Jonathan Kessler <kesslari@yahoo.com>
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Subject: DL4 dual inputs
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Very cool - never thought of that.=A0 I went and got a mixer...=A0 I like t=
he simplicity of the mic going into the DL4, might have to try that.
=A0
JK
=A0
>I saw him playing on the street in San Francisco, and he had a mic and a g=
uitar going >into a single DL4.=A0 I think he was making use of the dual in=
puts on the DL4.
>
>TH


On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo <labaloops@yahoo.com> wrote:

Genie is really cool indeed,how is he looping his voice i dont recall seein=
g any mixers,is the DL4 all he uses?

www.myspace.com/luisangulocom

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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Very cool - never thought of that.&nbsp; I went and got a mixer...&nbsp; I like the simplicity of the mic going into the DL4, might have to try that.</DIV>
<DIV>&nbsp;</DIV>
<DIV>JK</DIV>
<DIV>&nbsp;</DIV>
<DIV>&gt;I saw him playing on the street in San Francisco, and he had a mic and a guitar going &gt;into a single DL4.&nbsp; I think he was making use of the dual inputs on the DL4.<BR>&gt;<BR>&gt;TH<BR><BR></DIV>
<DIV class=gmail_quote>On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo <SPAN dir=ltr>&lt;<A href="http://us.mc1103.mail.yahoo.com/mc/compose?to=labaloops@yahoo.com" target=_blank rel=nofollow ymailto="mailto:labaloops@yahoo.com"><FONT color=#003399>labaloops@yahoo.com</FONT></A>&gt;</SPAN> wrote:<BR>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">Genie is really cool indeed,how is he looping his voice i dont recall seeing any mixers,is the DL4 all he uses?<BR><BR><A href="http://www.myspace.com/luisangulocom" target=_blank rel=nofollow><FONT color=#003399>www.myspace.com/luisangulocom</FONT></A><BR></BLOCKQUOTE></DIV></td></tr></table>
--0-259725431-1228867695=:78277--

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Date: Tue, 9 Dec 2008 16:11:31 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: LD <Loopers-Delight@loopers-delight.com>
Subject: Re: DL4 dual inputs
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And remember that the DL4 sums to mono in the looper regardless.

TH

On Tue, Dec 9, 2008 at 4:08 PM, Jonathan Kessler <kesslari@yahoo.com> wrote:

> Very cool - never thought of that.  I went and got a mixer...  I like the
> simplicity of the mic going into the DL4, might have to try that.
>
> JK
>
>

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And remember that the DL4 sums to mono in the looper regardless.<br><br>TH<br><br><div class="gmail_quote">On Tue, Dec 9, 2008 at 4:08 PM, Jonathan Kessler <span dir="ltr">&lt;<a href="mailto:kesslari@yahoo.com">kesslari@yahoo.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><table border="0" cellpadding="0" cellspacing="0"><tbody><tr><td style="font-family: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; font-size: inherit; line-height: inherit; font-size-adjust: inherit;" valign="top">
<div>Very cool - never thought of that.&nbsp; I went and got a mixer...&nbsp; I like the simplicity of the mic going into the DL4, might have to try that.</div>
<div>&nbsp;</div>
<div>JK</div><br></td></tr></tbody></table></blockquote></div><br>

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I have a new email address!You can now email me at: k_frank@ymail.com



- Dear Friend,My name,is Kofi Frank,l am a financial consultant based in Accra-Ghana W/Africa.l have a client (widow) she has $15.5million USD with equity Investment Trust Company for safe keeping only. She wishes to invest in a stable economy like your country, hence l decided to contact you for this project.Her interest is in companies with potentials for rapid growth in long terms and estate development.My client is interested in placing part of her funds in your company,if your country's by laws allows foreign investment. l will detail you more the moment l have your concept.   Enclose your phone No.In reply.my sincere regards,Mr Kofi Frank,


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>k_frank@ymail.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">Dear Friend,My name,is Kofi Frank,l am a financial consultant based in Accra-Ghana W/Africa.l have a client (widow) she has $15.5million USD with equity Investment Trust Company for safe keeping only. She wishes to invest in a stable economy like your country, hence l decided to contact you for this project.Her interest is in companies with potentials for rapid growth in long terms and estate development.My client is interested in placing part of her funds in your company,if your country's by laws allows foreign investment. l will detail you more the moment l have your concept.   Enclose your phone No.In reply.my sincere regards,Mr Kofi Frank,</span></div></div>
--0-1739349536-1228873588=:63127--

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well my new rack is a classic wooden type. I have 2 SKB rotoracks, but Im
going to sell them now... just too BIG, and the fact they are plastic reall=
y
limits me to add all those little ties and botches inside to keep everythin=
g
slightly tidy.
Ive never see what I was looking for (a side popup table affair) but was
imagining something, not ness from "the music people" who might have
something...

However, My new idea is to fill the racks lid with stuff and get a small
keyboard stand, take lid off and voil=E1.. a table... and can be PRE-plugge=
d!

(some of you have have got the impression I was going lappy huh??? Nei!!! I
would miss all this cabling routing racking problems) but NO... I DID buy
the wrong mixer about 2 months ago it seems... but I now have a new vision
of my new rack system... theres a few kinks to iron out.. But will get ther=
e
soon...

m


On Wed, Dec 10, 2008 at 6:08 AM, William Walker <billwalker@baymoon.com>wro=
te:

>  What kind of rack do you have I believe both SKB and Gator make such a
> thing which I assume would be similar to European brands of the same buil=
d.
>
> Bill
>
>
>  ------------------------------
>
> *From:* mark francombe [mailto:mark@markfrancombe.com]
> *Sent:* Tuesday, December 09, 2008 3:16 AM
> *To:* loopers-delight
> *Subject:* Any suggestions for side of rack surfaces...
>
>
>
> Hi!
>
> After just getting a new rack (mixer rack 10U across the top and 6 down) =
I
> suddenly realize that my old rack drawer solution for my "table-top"
> items... just aint gonna work, and I was thinking... what if there was so=
me
> kinda clever "clip-on" side table, or "wings" that I could pull out and c=
lip
> on to either side of my rack creating a flat surface for kaos pad / AirFX
> kind of things... The items themselves could easily be stored in a
> compartment in the lid of the rack, and cabling could be all up and ready=
 to
> pull out... so I think it could work well... but DIY not being my strong
> point (ask the wife) something... that can hook over the edge of the side=
 of
> a open topped rack...
>
> Seen anything?
>
> M
>
> --
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no
>



--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

------=_Part_123766_3123543.1228897614132
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

well my new rack is a classic wooden type. I have 2 SKB rotoracks, but Im g=
oing to sell them now... just too BIG, and the fact they are plastic really=
 limits me to add all those little ties and botches inside to keep everythi=
ng slightly tidy.<br>
Ive never see what I was looking for (a side popup table affair) but was im=
agining something, not ness from &quot;the music people&quot; who might hav=
e something...<br><br>However, My new idea is to fill the racks lid with st=
uff and get a small keyboard stand, take lid off and voil=E1.. a table... a=
nd can be PRE-plugged!<br>
<br>(some of you have have got the impression I was going lappy huh??? Nei!=
!! I would miss all this cabling routing racking problems) but NO... I DID =
buy the wrong mixer about 2 months ago it seems... but I now have a new vis=
ion of my new rack system... theres a few kinks to iron out.. But will get =
there soon...<br>
<br>m<br>&nbsp;<br><br><div class=3D"gmail_quote">On Wed, Dec 10, 2008 at 6=
:08 AM, William Walker <span dir=3D"ltr">&lt;<a href=3D"mailto:billwalker@b=
aymoon.com">billwalker@baymoon.com</a>&gt;</span> wrote:<br><blockquote cla=
ss=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); marg=
in: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">










<div link=3D"blue" vlink=3D"blue" lang=3D"EN-US">

<div>

<p><font color=3D"navy" face=3D"Arial" size=3D"2"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">What kind of rack do you have I be=
lieve
both SKB and Gator make such a thing which I assume would be similar to
European brands of the same build.</span></font></p>

<p><font color=3D"navy" face=3D"Arial" size=3D"2"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">Bill</span></font></p>

<p><font color=3D"navy" face=3D"Arial" size=3D"2"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<div>

<div style=3D"text-align: center;" align=3D"center"><font face=3D"Times New=
 Roman" size=3D"3"><span style=3D"font-size: 12pt;">

<hr align=3D"center" size=3D"2" width=3D"100%">

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

<p><b><font face=3D"Tahoma" size=3D"2"><span style=3D"font-size: 10pt; font=
-family: Tahoma; font-weight: bold;">From:</span></font></b><font face=3D"T=
ahoma" size=3D"2"><span style=3D"font-size: 10pt; font-family: Tahoma;"> ma=
rk francombe
[mailto:<a href=3D"mailto:mark@markfrancombe.com" target=3D"_blank">mark@ma=
rkfrancombe.com</a>] <br>
<b><span style=3D"font-weight: bold;">Sent:</span></b> Tuesday, December 09=
, 2008
3:16 AM<br>
<b><span style=3D"font-weight: bold;">To:</span></b> loopers-delight<br>
<b><span style=3D"font-weight: bold;">Subject:</span></b> Any suggestions f=
or side
of rack surfaces...</span></font></p>

</div><div><div></div><div class=3D"Wj3C7c">

<p><font face=3D"Times New Roman" size=3D"3"><span style=3D"font-size: 12pt=
;">&nbsp;</span></font></p>

<p><font face=3D"Times New Roman" size=3D"3"><span style=3D"font-size: 12pt=
;">Hi!<br>
<br>
After just getting a new rack (mixer rack 10U across the top and 6 down) I
suddenly realize that my old rack drawer solution for my &quot;table-top&qu=
ot;
items... just aint gonna work, and I was thinking... what if there was some
kinda clever &quot;clip-on&quot; side table, or &quot;wings&quot; that I co=
uld
pull out and clip on to either side of my rack creating a flat surface for =
kaos
pad / AirFX kind of things... The items themselves could easily be stored i=
n a
compartment in the lid of the rack, and cabling could be all up and ready t=
o
pull out... so I think it could work well... but DIY not being my strong po=
int
(ask the wife) something... that can hook over the edge of the side of a op=
en
topped rack...<br>
<br>
Seen anything?<br>
<br>
M<br clear=3D"all">
<br>
-- <br>
<a href=3D"http://www.markfrancombe.com" target=3D"_blank">www.markfrancomb=
e.com</a><br>
<a href=3D"http://vimeo.com/user825094" target=3D"_blank">http://vimeo.com/=
user825094</a><br>
<a href=3D"http://uk.youtube.com/user/markfrancombe" target=3D"_blank">http=
://uk.youtube.com/user/markfrancombe</a><br>
<a href=3D"http://www.myspace.com/markfrancombe" target=3D"_blank">http://w=
ww.myspace.com/markfrancombe</a><br>
<a href=3D"http://www.looop.no" target=3D"_blank">www.looop.no</a></span></=
font></p>

</div></div></div>

</div>


</blockquote></div><br><br clear=3D"all"><br>-- <br><a href=3D"http://www.m=
arkfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://vimeo.com/=
user825094">http://vimeo.com/user825094</a><br><a href=3D"http://uk.youtube=
.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mar=
kfrancombe</a><br><a href=3D"http://www.looop.no">www.looop.no</a><br>

------=_Part_123766_3123543.1228897614132--

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identification code number 3800 do contact the activating office
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Regards
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________________________________________________
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From richael_jst1@yahoo.com  Wed Dec 10 09:54:50 2008
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I have a new email address!You can now email me at: richael_jst1@yahoo.com



- Dearest,I am writing this mail to you with tears and sorrow from my heart. My name is Richael Justin Yac , 24yrs old, female and I held from South Sudan. I am writing this mail to you with tears and sorrow from my heart.  My father Dr. Justin Yac Arop was the former Minister for SPLA Affairs and Special Adviser to President Salva Kiir of South Sudan for Decentralization. My father Dr. Justine Yac and my mother including other top Military officers and top government officials had been on board when the plane crashed on Friday May 02, 2008.You can read more about the crash through the below site http://news.bbc.co.uk/2/hi/africa/7380412.stm After the burial of my father, my uncle conspired and sold my father's properties to one Chinease Expatriate and live nothing for me.  One faithful morning, I opened my father's briefcase and found out the documents which he have deposited huge amount of money in one bank in Burkina Faso with my name as the next of kin. I traveled to Burkina Faso to withdraw the money so that I can start a better life and take care of myself. On my arrival, the Branch manager of the Bank whom I met in person told me that my father's instruction to the bank was the money be release to me only when I am married or present a trustee who will help me and invest the money overseas.I am in search of an honest and reliable person who will help me and stand as my trustee so that I will present him to the Bank for transfer of the money to his bank account overseas. I have chosen to contact you after my prayers and I believe that you will not betray  my trust. But rather take me as your own sister. Though you may wonder why I am so soon revealing myself to you without knowing you, well,  I will say that my mind convinced me that you may be the true person to help me. More so, I will like to disclose much to you if you can help me to relocate to your country because my uncle have threaten to assassinate me. The amount is $14.9Million and I have confirmed from the bank in Burkina Faso. You will also help me to place the money in a more profitable business venture in your Country.However, you will help by recommending a nice University in your country so that I can complete my studies.  It is my intention to compensate you with 10% of the total money for your services and the balance shall be my capital in your establishment. As soon as I receive your interest in helping me, I will put things into action immediately. In the light of the above, I shall appreciate an urgent message indicating your ability and willingness to handle this transaction sincerely. Please do keep this only to your self. I beg you not to disclose it till i come over because I am affraid of my weaked uncle who has threatened to kill me.  Sincerely yours,Richael Justin Yac.


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>richael_jst1@yahoo.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">Dearest,I am writing this mail to you with tears and sorrow from my heart. My name is Richael Justin Yac , 24yrs old, female and I held from South Sudan. I am writing this mail to you with tears and sorrow from my heart.  My father Dr. Justin Yac Arop was the former Minister for SPLA Affairs and Special Adviser to President Salva Kiir of South Sudan for Decentralization. My father Dr. Justine Yac and my mother including other top Military officers and top government officials had been on board when the plane crashed on Friday May 02, 2008.You can read more about the crash through the below site http://news.bbc.co.uk/2/hi/africa/7380412.stm After the burial of my father, my uncle conspired and sold my father's properties to one Chinease Expatriate and live nothing for me.  One faithful morning, I opened my father's briefcase and found out the documents which he have deposited huge amount of money in one bank in Burkina Faso with my name as the next of kin. I traveled to Burkina Faso to withdraw the money so that I can start a better life and take care of myself. On my arrival, the Branch manager of the Bank whom I met in person told me that my father's instruction to the bank was the money be release to me only when I am married or present a trustee who will help me and invest the money overseas.I am in search of an honest and reliable person who will help me and stand as my trustee so that I will present him to the Bank for transfer of the money to his bank account overseas. I have chosen to contact you after my prayers and I believe that you will not betray  my trust. But rather take me as your own sister. Though you may wonder why I am so soon revealing myself to you without knowing you, well,  I will say that my mind convinced me that you may be the true person to help me. More so, I will like to disclose much to you if you can help me to relocate to your country because my uncle have threaten to assassinate me. The amount is $14.9Million and I have confirmed from the bank in Burkina Faso. You will also help me to place the money in a more profitable business venture in your Country.However, you will help by recommending a nice University in your country so that I can complete my studies.  It is my intention to compensate you with 10% of the total money for your services and the balance shall be my capital in your establishment. As soon as I receive your interest in helping me, I will put things into action immediately. In the light of the above, I shall appreciate an urgent message indicating your ability and willingness to handle this transaction sincerely. Please do keep this only to your self. I beg you not to disclose it till i come over because I am affraid of my weaked uncle who has threatened to kill me.  Sincerely yours,Richael Justin Yac.</span></div></div>
--0-821470244-1228902479=:63245--

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--Apple-Mail-7--655317017
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Hello

Just found this amazing Belew http://uk.youtube.com/watch?v=pMagxl- 
Rkas - looping video, he goes thru all his stuff.

Awesome

Matt Stevens
www.mattstevensguitar.com
mattstevensguitar@btinternet.com





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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Hello=A0<div><br></div><div>Just found this amazing Belew=A0<a =
href=3D"http://uk.youtube.com/watch?v=3DpMagxl-Rkas">http://uk.youtube.com=
/watch?v=3DpMagxl-Rkas</a> - looping video, he goes thru all his =
stuff.</div><div><br></div><div>Awesome<br><br><div> <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: =
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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; "><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-indent: 0px; text-transform: none; white-space: normal; =
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-webkit-border-vertical-spacing: 0px; =
-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; -webkit-text-stroke-width: 0px; "><div>Matt =
Stevens</div><div>www.mattstevensguitar.com</div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a></div><div><br></div></span><br =
class=3D"Apple-interchange-newline"></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

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Date: Wed, 10 Dec 2008 12:37:07 +0100
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Interesting to see his stuff... and sure enough I used to be blown away by
him oooh maybe 25 years ago... but is he still doing elephants???

And MY GOD.. the guy talks dull... is that for real...? For a bit I thought
he was ironically parodying a "musician technique tape"... is he REALLY that
boring??? I couldn't watch any more than one section.. maybe tonight, before
bedtime?

;-)

M

On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens <
mattstevensguitar@btinternet.com> wrote:

> Hello
> Just found this amazing Belew http://uk.youtube.com/watch?v=pMagxl-Rkas -
> looping video, he goes thru all his stuff.
>
> Awesome
>
> Matt Stevens
> www.mattstevensguitar.com
> mattstevensguitar@btinternet.com
>
>
>
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Interesting to see his stuff... and sure enough I used to be blown away by him oooh maybe 25 years ago... but is he still doing elephants???<br><br>And MY GOD.. the guy talks dull... is that for real...? For a bit I thought he was ironically parodying a &quot;musician technique tape&quot;... is he REALLY that boring??? I couldn&#39;t watch any more than one section.. maybe tonight, before bedtime?<br>
<br>;-)<br><br>M<br><br><div class="gmail_quote">On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens <span dir="ltr">&lt;<a href="mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinternet.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div style="">
Hello&nbsp;<div><br></div><div>Just found this amazing Belew&nbsp;<a href="http://uk.youtube.com/watch?v=pMagxl-Rkas" target="_blank">http://uk.youtube.com/watch?v=pMagxl-Rkas</a> - looping video, he goes thru all his stuff.</div>
<div><br></div><div>Awesome<br><font color="#888888"><br><div> <span style="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; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><span style="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; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><div>
Matt Stevens</div><div><a href="http://www.mattstevensguitar.com" target="_blank">www.mattstevensguitar.com</a></div><div><a href="mailto:mattstevensguitar@btinternet.com" target="_blank">mattstevensguitar@btinternet.com</a></div>
<div><br></div></span><br></span><br> </div><br></font></div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br>
<a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br><a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>


------=_Part_125112_5051323.1228909027748--

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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: Adrian Belew
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Press on mate - the second one is really good  - loads of cool  
effects. I still think hes well ahead of most people  and you can see  
his influence on most of us on this list.

Matt Stevens
www.mattstevensguitar.com
mattstevensguitar@btinternet.com




On 10 Dec 2008, at 11:37, mark francombe wrote:

> Interesting to see his stuff... and sure enough I used to be blown  
> away by him oooh maybe 25 years ago... but is he still doing  
> elephants???
>
> And MY GOD.. the guy talks dull... is that for real...? For a bit I  
> thought he was ironically parodying a "musician technique tape"...  
> is he REALLY that boring??? I couldn't watch any more than one  
> section.. maybe tonight, before bedtime?
>
> ;-)
>
> M
>
> On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens  
> <mattstevensguitar@btinternet.com> wrote:
> Hello
>
> Just found this amazing Belew http://uk.youtube.com/watch?v=pMagxl- 
> Rkas - looping video, he goes thru all his stuff.
>
> Awesome
>
> Matt Stevens
> www.mattstevensguitar.com
> mattstevensguitar@btinternet.com
>
>
>
>
>
>
>
> -- 
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Press on mate - the second one is really good =A0- loads of cool =
effects. I still think hes well ahead of most people =A0and you can see =
his influence on most of us on this list.<div><br><div> <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; "><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-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: 0px; "><div>Matt =
Stevens</div><div>www.mattstevensguitar.com</div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a></div><div><br></div></span><br =
class=3D"Apple-interchange-newline"></span><br =
class=3D"Apple-interchange-newline"> </div><br><div><div>On 10 Dec 2008, =
at 11:37, mark francombe wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">Interesting =
to see his stuff... and sure enough I used to be blown away by him oooh =
maybe 25 years ago... but is he still doing elephants???<br><br>And MY =
GOD.. the guy talks dull... is that for real...? For a bit I thought he =
was ironically parodying a "musician technique tape"... is he REALLY =
that boring??? I couldn't watch any more than one section.. maybe =
tonight, before bedtime?<br> <br>;-)<br><br>M<br><br><div =
class=3D"gmail_quote">On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens =
<span dir=3D"ltr">&lt;<a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a>></span> wrote:<br> <blockquote class=3D"gmail_quote" =
style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"><div style=3D""> =
Hello=A0<div><br></div><div>Just found this amazing Belew=A0<a =
href=3D"http://uk.youtube.com/watch?v=3DpMagxl-Rkas" =
target=3D"_blank">http://uk.youtube.com/watch?v=3DpMagxl-Rkas</a> - =
looping video, he goes thru all his stuff.</div> =
<div><br></div><div>Awesome<br><font color=3D"#888888"><br><div> <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; =
text-indent: 0px; text-transform: none; white-space: normal; =
word-spacing: 0px;"><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; text-indent: 0px; text-transform: none; =
white-space: normal; word-spacing: 0px;"><div> Matt Stevens</div><div><a =
href=3D"http://www.mattstevensguitar.com" =
target=3D"_blank">www.mattstevensguitar.com</a></div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com" =
target=3D"_blank">mattstevensguitar@btinternet.com</a></div> =
<div><br></div></span><br></span><br> =
</div><br></font></div></div></blockquote></div><br><br =
clear=3D"all"><br>-- <br><a =
href=3D"http://www.markfrancombe.com">www.markfrancombe.com</a><br><a =
href=3D"http://vimeo.com/user825094">http://vimeo.com/user825094</a><br> =
<a =
href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/us=
er/markfrancombe</a><br><a =
href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/markf=
rancombe</a><br><a href=3D"http://www.looop.no">www.looop.no</a><br> =
</blockquote></div><br></div></body></html>=

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> I still think hes well ahead of most people  and you can see his influenc=
e
> on most of us on this list.
>

no doubt there... wonder whether he=B4s gone to laptop yet??


--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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<div class=3D"gmail_quote"><div>&nbsp;</div><blockquote class=3D"gmail_quot=
e" style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"><div style=3D"">I still think hes well ahead of =
most people &nbsp;and you can see his influence on most of us on this list.=
</div>
</blockquote><div><br>no doubt there... wonder whether he=B4s gone to lapto=
p yet?? <br></div></div><br clear=3D"all"><br>-- <br><a href=3D"http://www.=
markfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://vimeo.com=
/user825094">http://vimeo.com/user825094</a><br>
<a href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/=
user/markfrancombe</a><br><a href=3D"http://www.myspace.com/markfrancombe">=
http://www.myspace.com/markfrancombe</a><br><a href=3D"http://www.looop.no"=
>www.looop.no</a><br>


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From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 12:08:30 2008
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From: "eterogeneo" <info@eterogeneo.com>
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Subject: Re: Adrian Belew
Date: Wed, 10 Dec 2008 13:08:12 +0100
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This is a demonstration VHS I have seen a lot of years ago at a friend's =
house.
It's interesting, even if it's old....and it is always a pleasure =
listening to Mr. Belew and seeing how is face and body react to his own =
playing....

Fabio=20
www.eterogeneo.com
www.myspace.com/eterogeneo

  ----- Original Message -----=20
  From: Matt Stevens=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, December 10, 2008 12:41 PM
  Subject: Re: Adrian Belew


  Press on mate - the second one is really good  - loads of cool =
effects. I still think hes well ahead of most people  and you can see =
his influence on most of us on this list.


  Matt Stevens
  www.mattstevensguitar.com
  mattstevensguitar@btinternet.com







  On 10 Dec 2008, at 11:37, mark francombe wrote:


    Interesting to see his stuff... and sure enough I used to be blown =
away by him oooh maybe 25 years ago... but is he still doing =
elephants???

    And MY GOD.. the guy talks dull... is that for real...? For a bit I =
thought he was ironically parodying a "musician technique tape"... is he =
REALLY that boring??? I couldn't watch any more than one section.. maybe =
tonight, before bedtime?

    ;-)

    M


    On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens =
<mattstevensguitar@btinternet.com> wrote:

      Hello=20


      Just found this amazing Belew =
http://uk.youtube.com/watch?v=3DpMagxl-Rkas - looping video, he goes =
thru all his stuff.


      Awesome


      Matt Stevens
      www.mattstevensguitar.com
      mattstevensguitar@btinternet.com










    --=20
    www.markfrancombe.com
    http://vimeo.com/user825094
    http://uk.youtube.com/user/markfrancombe
    http://www.myspace.com/markfrancombe
    www.looop.no





-------------------------------------------------------------------------=
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  No virus found in this incoming message.
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<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>This is a demonstration =
VHS I have=20
seen a lot of years ago at a friend's house.</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>It's interesting, even =
if it's=20
old....and it is always a pleasure listening to Mr. Belew and seeing how =
is face=20
and body react to his own playing....</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Fabio <BR><A=20
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</A><BR><A=20
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</A>=
<BR></FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000080 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=3Dmattstevensguitar@btinternet.com=20
  href=3D"mailto:mattstevensguitar@btinternet.com">Matt Stevens</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, December 10, =
2008 12:41=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Adrian Belew</DIV>
  <DIV><BR></DIV>Press on mate - the second one is really good &nbsp;- =
loads of=20
  cool effects. I still think hes well ahead of most people &nbsp;and =
you can=20
  see his influence on most of us on this list.
  <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; =
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2; -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"><SPAN=20
  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; =
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2; -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: 0px">
  <DIV>Matt Stevens</DIV>
  <DIV><A=20
  =
href=3D"http://www.mattstevensguitar.com">www.mattstevensguitar.com</A></=
DIV>
  <DIV><A=20
  =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinte=
rnet.com</A></DIV>
  <DIV><BR></DIV></SPAN><BR class=3DApple-interchange-newline></SPAN><BR =

  class=3DApple-interchange-newline></DIV><BR>
  <DIV>
  <DIV>On 10 Dec 2008, at 11:37, mark francombe wrote:</DIV><BR=20
  class=3DApple-interchange-newline>
  <BLOCKQUOTE type=3D"cite">Interesting to see his stuff... and sure =
enough I=20
    used to be blown away by him oooh maybe 25 years ago... but is he =
still=20
    doing elephants???<BR><BR>And MY GOD.. the guy talks dull... is that =
for=20
    real...? For a bit I thought he was ironically parodying a "musician =

    technique tape"... is he REALLY that boring??? I couldn't watch any =
more=20
    than one section.. maybe tonight, before=20
bedtime?<BR><BR>;-)<BR><BR>M<BR><BR>
    <DIV class=3Dgmail_quote>On Wed, Dec 10, 2008 at 12:11 PM, Matt =
Stevens <SPAN=20
    dir=3Dltr>&lt;<A=20
    =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinte=
rnet.com</A>&gt;</SPAN>=20
    wrote:<BR>
    <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>Hello&nbsp;
      <DIV><BR></DIV>
      <DIV>Just found this amazing Belew&nbsp;<A=20
      href=3D"http://uk.youtube.com/watch?v=3DpMagxl-Rkas"=20
      target=3D_blank>http://uk.youtube.com/watch?v=3DpMagxl-Rkas</A> - =
looping=20
      video, he goes thru all his stuff.</DIV>
      <DIV><BR></DIV>
      <DIV>Awesome<BR><FONT color=3D#888888><BR>
      <DIV><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"><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">
      <DIV>Matt Stevens</DIV>
      <DIV><A href=3D"http://www.mattstevensguitar.com"=20
      target=3D_blank>www.mattstevensguitar.com</A></DIV>
      <DIV><A href=3D"mailto:mattstevensguitar@btinternet.com"=20
      target=3D_blank>mattstevensguitar@btinternet.com</A></DIV>
      =
<DIV><BR></DIV></SPAN><BR></SPAN><BR></DIV><BR></FONT></DIV></DIV></BLOCK=
QUOTE></DIV><BR><BR=20
    clear=3Dall><BR>-- <BR><A=20
    =
href=3D"http://www.markfrancombe.com">www.markfrancombe.com</A><BR><A=20
    =
href=3D"http://vimeo.com/user825094">http://vimeo.com/user825094</A><BR><=
A=20
    =
href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/u=
ser/markfrancombe</A><BR><A=20
    =
href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mark=
francombe</A><BR><A=20
    =
href=3D"http://www.looop.no">www.looop.no</A><BR></BLOCKQUOTE></DIV><BR><=
/DIV>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 12:15:13 2008
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Date: Wed, 10 Dec 2008 13:15:11 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Adrian Belew
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Nice tip, Matt. That was Part 1. I watched Part 2 too and found it
even more interesting. Regarding his dull talking, kindly pointed out
by Mark, I think Belew has what it would take to do an excellent cover
of the OhmForce Hematohm demo:
http://www.youtube.com/watch?v=oDGJvNHZfow&feature=related (love this video!)

As a funny coindsidense I was just watching the Tom Morello demo
videos yesterday:
http://www.youtube.com/watch?v=Eg-nF8jG3Hc also here you will find
Part 2 more interesting. I personally like Tom Morello's guitar
playing a little better than Adrian Belew's. Even twenty five years
ago I was thinking Belew used too much chorus and flanger when playing
melodic tonal material, but this is of course only a matter of
personal taste.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens
<mattstevensguitar@btinternet.com> wrote:
> Hello
> Just found this amazing Belew http://uk.youtube.com/watch?v=pMagxl-Rkas -
> looping video, he goes thru all his stuff.
> Awesome
>
> Matt Stevens
> www.mattstevensguitar.com
> mattstevensguitar@btinternet.com
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 12:26:56 2008
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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: Adrian Belew
Date: Wed, 10 Dec 2008 12:26:21 +0000
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Thanks Per (getting whammy pedal out now)...

Matt Stevens
www.mattstevensguitar.com
mattstevensguitar@btinternet.com




On 10 Dec 2008, at 12:15, Per Boysen wrote:

> Nice tip, Matt. That was Part 1. I watched Part 2 too and found it
> even more interesting. Regarding his dull talking, kindly pointed out
> by Mark, I think Belew has what it would take to do an excellent cover
> of the OhmForce Hematohm demo:
> http://www.youtube.com/watch?v=oDGJvNHZfow&feature=related (love  
> this video!)
>
> As a funny coindsidense I was just watching the Tom Morello demo
> videos yesterday:
> http://www.youtube.com/watch?v=Eg-nF8jG3Hc also here you will find
> Part 2 more interesting. I personally like Tom Morello's guitar
> playing a little better than Adrian Belew's. Even twenty five years
> ago I was thinking Belew used too much chorus and flanger when playing
> melodic tonal material, but this is of course only a matter of
> personal taste.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
>
> On Wed, Dec 10, 2008 at 12:11 PM, Matt Stevens
> <mattstevensguitar@btinternet.com> wrote:
>> Hello
>> Just found this amazing Belew http://uk.youtube.com/watch?v=pMagxl- 
>> Rkas -
>> looping video, he goes thru all his stuff.
>> Awesome
>>
>> Matt Stevens
>> www.mattstevensguitar.com
>> mattstevensguitar@btinternet.com
>>
>>
>>
>>
>


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Thanks Per (getting whammy pedal out now)...<div><br><div> <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; "><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-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: 0px; "><div>Matt =
Stevens</div><div>www.mattstevensguitar.com</div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a></div><div><br></div></span><br =
class=3D"Apple-interchange-newline"></span><br =
class=3D"Apple-interchange-newline"> </div><br><div><div>On 10 Dec 2008, =
at 12:15, Per Boysen wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Nice tip, Matt. That was Part 1. I watched Part 2 =
too and found it</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">even more interesting. Regarding =
his dull talking, kindly pointed out</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">by Mark, I =
think Belew has what it would take to do an excellent cover</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">of the OhmForce Hematohm demo:</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><a =
href=3D"http://www.youtube.com/watch?v=3DoDGJvNHZfow&amp;feature=3Drelated=
">http://www.youtube.com/watch?v=3DoDGJvNHZfow&amp;feature=3Drelated</a> =
(love this video!)</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; ">As a funny coindsidense I was =
just watching the Tom Morello demo</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">videos =
yesterday:</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><a =
href=3D"http://www.youtube.com/watch?v=3DEg-nF8jG3Hc">http://www.youtube.c=
om/watch?v=3DEg-nF8jG3Hc</a> also here you will find</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Part 2 more interesting. I personally like Tom =
Morello's guitar</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">playing a little better than =
Adrian Belew's. Even twenty five years</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">ago I =
was thinking Belew used too much chorus and flanger when =
playing</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">melodic tonal material, but this =
is of course only a matter of</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">personal =
taste.</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; ">Greetings from Sweden</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; ">Per =
Boysen</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">www.boysen.se =
(Swedish)</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">www.looproom.com =
(international)</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; =
">www.ubetoo.com/Artist.taf?_ArtistId=3D6550</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; =
min-height: 14px; "><br></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; min-height: 14px; "><br></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">On Wed, Dec 10, 2008 at 12:11 PM, Matt =
Stevens</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">&lt;<a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a>> wrote:</div> <blockquote type=3D"cite"><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Hello</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Just found =
this amazing Belew <a =
href=3D"http://uk.youtube.com/watch?v=3DpMagxl-Rkas">http://uk.youtube.com=
/watch?v=3DpMagxl-Rkas</a> -</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">looping =
video, he goes thru all his stuff.</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">Awesome</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; ">Matt Stevens</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
">www.mattstevensguitar.com</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</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; min-height: 14px; "><br></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; min-height: =
14px; "><br></div> </blockquote><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; min-height: =
14px; "><br></div> </blockquote></div><br></div></body></html>=

--Apple-Mail-9--650804374--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 13:27:42 2008
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Date: Wed, 10 Dec 2008 13:32:06 +0000
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To: LD <Loopers-Delight@loopers-delight.com>
Subject: FWD: Ascension - new CD release
References: <20081210120840.31209.1526856829.swift@q134l.fm.easily.co.uk>
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Some loop content here probably.
Steve played a stunning violin looping set at the 2008 Norwichfest.



steve@stevebingham.co.uk wrote:
>
> *Steve Bingham: News Update - 10th December 2008*
>
> Dear All,
>
> It’s finally arrived: Last week, after several months of recording and 
> preparation, 1000 copies of my new solo CD “*Ascension*” were 
> delivered to my door. It’s an exciting feeling to open the first box 
> and take the wrapping off the first CD. Although the music is all 
> exactly the same as it was when it was on my computer prior to going 
> to the CD pressing plant, it feels different to put the first real 
> copy of the CD into the CD player and start playing it…..
>
> On this, my second solo album, there's everything from *Renaissance 
> dance music* to *Led Zeppelin*, taking in *Telemann*, *Bartok*, *Jeff 
> Beck*, *jazz*, *improvisation*, *Pablo Casals* and my first own 
> composition on a CD - the title track '*Ascension*'!
>
> There are guest appearances from *Jason Carter* (guitar), *Mike 
> Bearpark* (guitar), *Nick Cottam* (bass), *Os* (live sampling), *Phil 
> Toms* (double bass) and *Stephan Pugh* (djembe).
>
> The CD is available online from my website - www.stevebingham.co.uk 
> <http://www.stevebingham.co.uk/home> - so do please take the time to 
> check it out.....
>
> Best wishes to everyone for Christmas and the New Year,
> Steve
>
> www.stevebingham.co.uk <http://www.stevebingham.co.uk/home>
> 01842 828424
> 07943 829011
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 13:38:20 2008
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From: "eterogeneo" <info@eterogeneo.com>
To: <Loopers-Delight@loopers-delight.com>
References: <20081210120840.31209.1526856829.swift@q134l.fm.easily.co.uk> <493FC4D6.3090104@tiscali.co.uk>
Subject: Re: Ascension - new CD release
Date: Wed, 10 Dec 2008 14:38:15 +0100
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I 'm listening now to some music on his website....i can't recognize looped 
musical parts, but he's for sure an amazing violin player with a great sense 
of music.
Raccomended !

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo


----- Original Message ----- 
From: "andy butler" <akbutler@tiscali.co.uk>
To: "LD" <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 10, 2008 2:32 PM
Subject: FWD: Ascension - new CD release


> Some loop content here probably.
> Steve played a stunning violin looping set at the 2008 Norwichfest.
>
>
>
> steve@stevebingham.co.uk wrote:
>>
>> *Steve Bingham: News Update - 10th December 2008*
>>
>> Dear All,
>>
>> It’s finally arrived: Last week, after several months of recording and
>> preparation, 1000 copies of my new solo CD “*Ascension*” were
>> delivered to my door. It’s an exciting feeling to open the first box
>> and take the wrapping off the first CD. Although the music is all
>> exactly the same as it was when it was on my computer prior to going
>> to the CD pressing plant, it feels different to put the first real
>> copy of the CD into the CD player and start playing it…..
>>
>> On this, my second solo album, there's everything from *Renaissance
>> dance music* to *Led Zeppelin*, taking in *Telemann*, *Bartok*, *Jeff
>> Beck*, *jazz*, *improvisation*, *Pablo Casals* and my first own
>> composition on a CD - the title track '*Ascension*'!
>>
>> There are guest appearances from *Jason Carter* (guitar), *Mike
>> Bearpark* (guitar), *Nick Cottam* (bass), *Os* (live sampling), *Phil
>> Toms* (double bass) and *Stephan Pugh* (djembe).
>>
>> The CD is available online from my website - www.stevebingham.co.uk
>> <http://www.stevebingham.co.uk/home> - so do please take the time to
>> check it out.....
>>
>> Best wishes to everyone for Christmas and the New Year,
>> Steve
>>
>> www.stevebingham.co.uk <http://www.stevebingham.co.uk/home>
>> 01842 828424
>> 07943 829011
>>
>
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.9.16/1840 - Release Date: 09/12/2008 
16.53

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 14:19:36 2008
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Message-ID: <d054a9ca0812100619l61db661buca635ab02ac53eea@mail.gmail.com>
Date: Wed, 10 Dec 2008 14:19:34 +0000
From: Os <os@collective.co.uk>
Sender: expertsleepers@googlemail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Ascension - new CD release
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More of Steve being looped, if not looping himself, here:

http://www.improvizone.com/downloads.php


cheers,
os.


2008/12/10 andy butler <akbutler@tiscali.co.uk>:
> Some loop content here probably.
> Steve played a stunning violin looping set at the 2008 Norwichfest.
>
>
>
> steve@stevebingham.co.uk wrote:
>>
>> *Steve Bingham: News Update - 10th December 2008*
>>
>> Dear All,
>>
>> It's finally arrived: Last week, after several months of recording and
>> preparation, 1000 copies of my new solo CD "*Ascension*" were delivered =
to
>> my door. It's an exciting feeling to open the first box and take the
>> wrapping off the first CD. Although the music is all exactly the same as=
 it
>> was when it was on my computer prior to going to the CD pressing plant, =
it
>> feels different to put the first real copy of the CD into the CD player =
and
>> start playing it=85..
>>
>> On this, my second solo album, there's everything from *Renaissance danc=
e
>> music* to *Led Zeppelin*, taking in *Telemann*, *Bartok*, *Jeff Beck*,
>> *jazz*, *improvisation*, *Pablo Casals* and my first own composition on =
a CD
>> - the title track '*Ascension*'!
>>
>> There are guest appearances from *Jason Carter* (guitar), *Mike Bearpark=
*
>> (guitar), *Nick Cottam* (bass), *Os* (live sampling), *Phil Toms* (doubl=
e
>> bass) and *Stephan Pugh* (djembe).
>>
>> The CD is available online from my website - www.stevebingham.co.uk
>> <http://www.stevebingham.co.uk/home> - so do please take the time to che=
ck
>> it out.....
>>
>> Best wishes to everyone for Christmas and the New Year,
>> Steve
>>
>> www.stevebingham.co.uk <http://www.stevebingham.co.uk/home>
>> 01842 828424
>> 07943 829011
>>
>
>



--=20
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 15:12:45 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Adrian Belew
Date: Wed, 10 Dec 2008 10:07:14 -0500
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----------MB_8CB28F01E72A6C8_96C_B23_webmail-db12.sysops.aol.com
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Belew has such an individual touch on guitar. He reminds me of Jeff Beck in=20=
that regard. He is a great songwriter too.

=3D-) PJ


-----Original Message-----
From: mark francombe <mark@markfrancombe.com>
To: Loopers-Delight@loopers-delight.com
Sent: Wed, 10 Dec 2008 6:59 am
Subject: Re: Adrian Belew




=C2=A0


I still think hes well ahead of most people =C2=A0and you can see his influe=
nce on most of us on this list.



no doubt there... wonder whether he=C2=B4s gone to laptop yet??=20




--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no


----------MB_8CB28F01E72A6C8_96C_B23_webmail-db12.sysops.aol.com
Content-Transfer-Encoding: quoted-printable
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<FONT size=3D4>Belew has such an individual touch on guitar. He reminds me o=
f Jeff Beck in that regard. He is a great songwriter too.<br>
<br>
=3D-) PJ</FONT><br>
<br>
<br>
-----Original Message-----<br>
From: mark francombe &lt;mark@markfrancombe.com&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Wed, 10 Dec 2008 6:59 am<br>
Subject: Re: Adrian Belew<br>
<br>


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<div class=3Dgmail_quote>

<div>&nbsp;</div>

<BLOCKQUOTE class=3Dgmail_quote style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt=20=
0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">

<div>I still think hes well ahead of most people &nbsp;and you can see his i=
nfluence on most of us on this list.</div>
</BLOCKQUOTE>

<div><br>
no doubt there... wonder whether he=C2=B4s gone to laptop yet?? <br>
</div>
</div>
<BR clear=3Dall><br>
-- <br>
<A href=3D"http://www.markfrancombe.com/" target=3D_blank>www.markfrancombe.=
com</A><br>
<A href=3D"http://vimeo.com/user825094" target=3D_blank>http://vimeo.com/use=
r825094</A><br>
<A href=3D"http://uk.youtube.com/user/markfrancombe" target=3D_blank>http://=
uk.youtube.com/user/markfrancombe</A><br>
<A href=3D"http://www.myspace.com/markfrancombe" target=3D_blank>http://www.=
myspace.com/markfrancombe</A><br>
<A href=3D"http://www.looop.no/" target=3D_blank>www.looop.no</A><br>
</div>
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 15:35:52 2008
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Subject: Re: Adrian Belew
Date: Wed, 10 Dec 2008 10:35:37 -0500
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I don't why he's talking like that... I've had dinner with him and he  
is quite an animated 56 year old.
maybe he took himself a bit more seriously back then.

Teddy
--
PS.
--
http://teddyjam.com
new live recordings, always
--
http://myspace.com/teddykjam
friend me

On Dec 10, 2008, at 6:37 AM, mark francombe wrote:

> Interesting to see his stuff... and sure enough I used to be blown  
> away by him oooh maybe 25 years ago... but is he still doing  
> elephants???
>
> And MY GOD.. the guy talks dull... is that for real...? For a bit I  
> thought he was ironically parodying a "musician technique tape"...  
> is he REALLY that boring??? I couldn't watch any more than one  
> section.. maybe tonight, before bedtime?
>
> ;-)
>
> M



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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">I don't why he's talking like =
that... I've had dinner with him and he is quite an animated 56 year =
old.<div>maybe he took himself a bit more seriously back =
then.</div><div><br></div><div>Teddy<br><div =
apple-content-edited=3D"true"><div style=3D"word-wrap: break-word; =
-webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><span =
class=3D"Apple-style-span" style=3D"font-size: 14px; "><span =
class=3D"Apple-style-span" style=3D"font-family: Helvetica; "><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; font-family: Helvetica; font-size: 14px; "><span =
class=3D"Apple-style-span" style=3D"font-family: 'Lucida Grande'; =
font-size: 12px; "><div style=3D"word-wrap: break-word; =
-webkit-nbsp-mode: space; -webkit-line-break: after-white-space; =
"><div><span class=3D"Apple-style-span" style=3D"font-family: Helvetica; =
font-size: 14px; "><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; font-size: 14px; "><font size=3D"4" =
style=3D"font: normal normal normal 14px/normal Helvetica; font-size: =
14px; "><font class=3D"Apple-style-span" face=3D"'Lucida =
Grande'">--</font></font></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: =
14px; "><font size=3D"3" style=3D"font: normal normal normal 12px/normal =
Helvetica; font-size: 12px; "><font class=3D"Apple-style-span" =
face=3D"'Lucida Grande'">PS.</font></font></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: =
14px; "><font class=3D"Apple-style-span" face=3D"'Lucida Grande'" =
size=3D"3">--</font></div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; font-size: 14px; "><font =
class=3D"Apple-style-span" size=3D"3"><font class=3D"Apple-style-span" =
face=3D"'Lucida Grande'"><a =
href=3D"http://teddyjam.com">http://teddyjam.com</a></font></font></div><d=
iv style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; font-size: 14px; "><font class=3D"Apple-style-span" =
size=3D"3"><font class=3D"Apple-style-span" face=3D"'Lucida Grande'">new =
live recordings, always</font></font></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font-size: =
14px; "><font class=3D"Apple-style-span" face=3D"'Lucida Grande'" =
size=3D"3">--</font></div><div style=3D"margin-top: 0px; margin-right: =
0px; margin-bottom: 0px; margin-left: 0px; font-size: 14px; "><font =
class=3D"Apple-style-span" face=3D"'Lucida Grande'" size=3D"3"><a =
href=3D"http://myspace.com/teddykjam">http://myspace.com/teddykjam</a></fo=
nt></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; font-size: 14px; "><font =
class=3D"Apple-style-span" face=3D"'Lucida Grande'" size=3D"3">friend =
me</font></div></span></div></div></span></div></span></span></div></div><=
/div><div><br></div><div><div><div>On Dec 10, 2008, at 6:37 AM, mark =
francombe wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite">Interesting to see his stuff... and sure enough I used to =
be blown away by him oooh maybe 25 years ago... but is he still doing =
elephants???<br><br>And MY GOD.. the guy talks dull... is that for =
real...? For a bit I thought he was ironically parodying a "musician =
technique tape"... is he REALLY that boring??? I couldn't watch any more =
than one section.. maybe tonight, before bedtime?<br> =
<br>;-)<br><br>M</blockquote></div><div apple-content-edited=3D"true"> =
</div><br></div></body></html>=

--Boundary_(ID_QKRAMT3EjSMJ7ZYCAb32UQ)--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 15:36:50 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Adrian Belew
Date: Wed, 10 Dec 2008 07:36:43 -0800
To: Loopers-Delight@loopers-delight.com
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Yeah, thats an old guitar instructional video of Adrian's.

I've got the VHS here somewhere around the house.

I forget what it's called.

I haven't watched it in years and years.

I think it's from right around (or slightly after) his Lone Rhino LP=20
(LP - that shows how old I am).

Yep, he does have a sort of dull speaking presentation on these tapes -=20=

seems to have a bad head cold . . . or is simply high.

I've met him a few times and he's not normally like that at all.

I keep thinking of putting that tape and my David Torn "Painting with=20
Guitar" tapes up on eBay.

Never watch'em anymore.

I ought to.

BTW, I just received the new Bill Frisell "Solos" DVD in the mail.

Haven't watched it yet.

I'll keep everyone posted.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")
On Dec 10, 2008, at 3:11 AM, Matt Stevens wrote:

>  Hello=A0
>
> Just found this amazing=20
> Belew=A0http://uk.youtube.com/watch?v=3DpMagxl-Rkas - looping video, =
he=20
> goes thru all his stuff.
>
> Awesome
>
> Matt Stevens
> www.mattstevensguitar.com
> mattstevensguitar@btinternet.com
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:01:36 2008
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From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Adrian Belew
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Nope, not gone laptop.

He's gone VG99.  Plus lots of other stuff.  I'm pretty sure he uses a
Boomerang.  I had a pic of his rig around somewhere...

He's on tour in Australia right now with his Power Trio.  Fabulous band.  I
saw him a few months ago with King Crimson for their 40th anniversary tour.


No doubt a major influence on me and lots of us here.

That was a fun video to watch.

On Wed, Dec 10, 2008 at 6:59 AM, mark francombe <mark@markfrancombe.com>wro=
te:

>
>
>> I still think hes well ahead of most people  and you can see his influen=
ce
>> on most of us on this list.
>>
>
> no doubt there... wonder whether he=B4s gone to laptop yet??
>
>
> --
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no
>



--=20
-=3D=3D-=3D-=3D-
Tony

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Nope, not gone laptop.<br><br>He&#39;s gone VG99.&nbsp; Plus lots of other =
stuff.&nbsp; I&#39;m pretty sure he uses a Boomerang.&nbsp; I had a pic of =
his rig around somewhere...<br><br>He&#39;s on tour in Australia right now =
with his Power Trio.&nbsp; Fabulous band.&nbsp; I saw him a few months ago =
with King Crimson for their 40th anniversary tour.&nbsp; <br>
<br>No doubt a major influence on me and lots of us here.&nbsp; <br><br>Tha=
t was a fun video to watch.&nbsp; <br><br><div class=3D"gmail_quote">On Wed=
, Dec 10, 2008 at 6:59 AM, mark francombe <span dir=3D"ltr">&lt;<a href=3D"=
mailto:mark@markfrancombe.com">mark@markfrancombe.com</a>&gt;</span> wrote:=
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class=3D"gma=
il_quote"><div class=3D"Ih2E3d"><div>&nbsp;</div><blockquote class=3D"gmail=
_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt=
 0pt 0.8ex; padding-left: 1ex;">
<div>I still think hes well ahead of most people &nbsp;and you can see his =
influence on most of us on this list.</div>
</blockquote></div><div><br>no doubt there... wonder whether he=B4s gone to=
 laptop yet?? <br></div></div><div><div></div><div class=3D"Wj3C7c"><br cle=
ar=3D"all"><br>-- <br><a href=3D"http://www.markfrancombe.com" target=3D"_b=
lank">www.markfrancombe.com</a><br>
<a href=3D"http://vimeo.com/user825094" target=3D"_blank">http://vimeo.com/=
user825094</a><br>
<a href=3D"http://uk.youtube.com/user/markfrancombe" target=3D"_blank">http=
://uk.youtube.com/user/markfrancombe</a><br><a href=3D"http://www.myspace.c=
om/markfrancombe" target=3D"_blank">http://www.myspace.com/markfrancombe</a=
><br>
<a href=3D"http://www.looop.no" target=3D"_blank">www.looop.no</a><br>

</div></div></blockquote></div><br><br clear=3D"all"><br>-- <br>-=3D=3D-=3D=
-=3D- <br>Tony<br>

------=_Part_7164_27089833.1228924895093--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:16:34 2008
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I love that David Torn video...I really just watch these videos for the 
bonus music, the "instruction" parts rarely say much one couldn't gather 
from watching them or seeing a pic of their effects.

I can't wait to get the Frisell DVD, I love his solo looping/playing 
work. Here's a clip from it:

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

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


> I keep thinking of putting that tape and my David Torn "Painting with 
> Guitar" tapes up on eBay.
>
> Never watch'em anymore.
>
> I ought to.
>
> BTW, I just received the new Bill Frisell "Solos" DVD in the mail.
>
> Haven't watched it yet.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:39:02 2008
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From: "Stephen Moyes" <stephenmoyes@blueyonder.co.uk>
To: <Loopers-Delight@loopers-delight.com>
References: <A9924404-4D5F-47C1-A751-BA98D38F09B5@btinternet.com> <66f9cc1e0812100415p54fd505do852903f7afaa9170@mail.gmail.com> <B530EC41-68A4-4521-BE42-FA4B5310891F@btinternet.com>
Subject: Introduction
Date: Wed, 10 Dec 2008 15:11:00 -0000
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Greetings loopers,

I have been lurking on this mailing list for a couple of years and thought 
it was about time I introduced myself and started to get involved in some of 
your wonderful discussions.

I'm based in Kent in south-east England and I have been playing music on 
various instruments for most of my life. I got my first guitar for my 16th 
birthday (over 30 years ago!) it became my main instrument. I also took up 
the cello five or six years ago.

I'm mainly a free improvisor, although I also dabble in computer based 
composition and various other odd musical projects.

My first 'proper' looping device was a Vortex and I started using a DL4 
soonafter they became available. I started experementing with Mobius last 
year and have been spending more time learning it recently. Next Wednesday 
I'm doing my first public guitar/laptop/Mobius performance in London.

I have learned a lot from reading this list and beem introduced to a huge 
amount of great music. I look forward to getting involved with future 
discussions and being part of your lovely looping community.

Best wishes to you all,

Steve
www.stevemoyes.org.uk

p.s. If anyone' interested there are some short sound clips on the 'sounds' 
page of my very out of date website. The 'Evrah/Steve track has some DL4 
looping, and 'cello loop No 1' was my first Mobius recording, although it's 
over a year old and not representative of where I am now. There's also 
details of next week's gig on the 'performances' page. 


From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:44:48 2008
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Date: Wed, 10 Dec 2008 08:44:46 -0800 (PST)
From: scott hansen <evanpeewee@yahoo.com>
Reply-To: evanpeewee@yahoo.com
Subject: Adrian Belew: EH 16 sec digital delay
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yes, that is from Adrian Belew's "Electronic Guitar" VIDEO.
i got it for XMAS a few yrs ago.
it is a bit dry at times for the talk demos, but you have to remember: IT'S FROM 1985!!!!!!
there weren't a lot of vids out at that time, to my knowledge, and certainly none from people who were playing on the edge/fringe of rock guitar!!

i do think his demo of the EH-16 sec DD is pretty amazing even still today. the funny thing is he calls it his digital tape LOOP machine. ha.
and i think his use of effects are still pretty amazing-but look at the AMOUNT OF GEAR he has, whooooa, would hate to have to cart that around.
s---



      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">yes, that is from Adrian Belew's "Electronic Guitar" VIDEO.<br>i got it for XMAS a few yrs ago.<br>it is a bit dry at times for the talk demos, but you have to remember: IT'S FROM 1985!!!!!!<br>there weren't a lot of vids out at that time, to my knowledge, and certainly none from people who were playing on the edge/fringe of rock guitar!!<br><br>i do think his demo of the EH-16 sec DD is pretty amazing even still today. the funny thing is he calls it his digital tape LOOP machine. ha.<br>and i think his use of effects are still pretty amazing-but look at the AMOUNT OF GEAR he has, whooooa, would hate to have to cart that around.<br>s---<br></td></tr></table><br>

      
--0-880364847-1228927486=:83601--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:52:24 2008
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From: Elmer Fuddski <jakebrakesrule@yahoo.com>
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Welcome aboard!
=A0
"Loopski"

--- On Wed, 12/10/08, Stephen Moyes <stephenmoyes@blueyonder.co.uk> wrote:

From: Stephen Moyes <stephenmoyes@blueyonder.co.uk>
Subject: Introduction
To: Loopers-Delight@loopers-delight.com
Date: Wednesday, December 10, 2008, 7:11 AM

Greetings loopers,

I have been lurking on this mailing list for a couple of years and thought =
it
was about time I introduced myself and started to get involved in some of y=
our
wonderful discussions.

I'm based in Kent in south-east England and I have been playing music on
various instruments for most of my life. I got my first guitar for my 16th
birthday (over 30 years ago!) it became my main instrument. I also took up =
the
cello five or six years ago.

I'm mainly a free improvisor, although I also dabble in computer based
composition and various other odd musical projects.

My first 'proper' looping device was a Vortex and I started using a DL4
soonafter they became available. I started experementing with Mobius last y=
ear
and have been spending more time learning it recently. Next Wednesday I'm
doing my first public guitar/laptop/Mobius performance in London.

I have learned a lot from reading this list and beem introduced to a huge
amount of great music. I look forward to getting involved with future
discussions and being part of your lovely looping community.

Best wishes to you all,

Steve
www.stevemoyes.org.uk

p.s. If anyone' interested there are some short sound clips on the
'sounds' page of my very out of date website. The 'Evrah/Steve track
has some DL4 looping, and 'cello loop No 1' was my first Mobius
recording, although it's over a year old and not representative of where I
am now. There's also details of next week's gig on the
'performances' page.=20

=0A=0A=0A      
--0-1325496620-1228927544=:51624
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Welcome aboard!</DIV>
<DIV>&nbsp;</DIV>
<DIV>"Loopski"<BR><BR>--- On <B>Wed, 12/10/08, Stephen Moyes <I>&lt;stephenmoyes@blueyonder.co.uk&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Stephen Moyes &lt;stephenmoyes@blueyonder.co.uk&gt;<BR>Subject: Introduction<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Wednesday, December 10, 2008, 7:11 AM<BR><BR><PRE>Greetings loopers,

I have been lurking on this mailing list for a couple of years and thought it
was about time I introduced myself and started to get involved in some of your
wonderful discussions.

I'm based in Kent in south-east England and I have been playing music on
various instruments for most of my life. I got my first guitar for my 16th
birthday (over 30 years ago!) it became my main instrument. I also took up the
cello five or six years ago.

I'm mainly a free improvisor, although I also dabble in computer based
composition and various other odd musical projects.

My first 'proper' looping device was a Vortex and I started using a DL4
soonafter they became available. I started experementing with Mobius last year
and have been spending more time learning it recently. Next Wednesday I'm
doing my first public guitar/laptop/Mobius performance in London.

I have learned a lot from reading this list and beem introduced to a huge
amount of great music. I look forward to getting involved with future
discussions and being part of your lovely looping community.

Best wishes to you all,

Steve
www.stevemoyes.org.uk

p.s. If anyone' interested there are some short sound clips on the
'sounds' page of my very out of date website. The 'Evrah/Steve track
has some DL4 looping, and 'cello loop No 1' was my first Mobius
recording, although it's over a year old and not representative of where I
am now. There's also details of next week's gig on the
'performances' page. 

</PRE></BLOCKQUOTE></td></tr></table><br>

      
--0-1325496620-1228927544=:51624--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:52:34 2008
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Welcome aboard!
=A0
"Loopski"

--- On Wed, 12/10/08, Stephen Moyes <stephenmoyes@blueyonder.co.uk> wrote:

From: Stephen Moyes <stephenmoyes@blueyonder.co.uk>
Subject: Introduction
To: Loopers-Delight@loopers-delight.com
Date: Wednesday, December 10, 2008, 7:11 AM

Greetings loopers,

I have been lurking on this mailing list for a couple of years and thought =
it
was about time I introduced myself and started to get involved in some of y=
our
wonderful discussions.

I'm based in Kent in south-east England and I have been playing music on
various instruments for most of my life. I got my first guitar for my 16th
birthday (over 30 years ago!) it became my main instrument. I also took up =
the
cello five or six years ago.

I'm mainly a free improvisor, although I also dabble in computer based
composition and various other odd musical projects.

My first 'proper' looping device was a Vortex and I started using a DL4
soonafter they became available. I started experementing with Mobius last y=
ear
and have been spending more time learning it recently. Next Wednesday I'm
doing my first public guitar/laptop/Mobius performance in London.

I have learned a lot from reading this list and beem introduced to a huge
amount of great music. I look forward to getting involved with future
discussions and being part of your lovely looping community.

Best wishes to you all,

Steve
www.stevemoyes.org.uk

p.s. If anyone' interested there are some short sound clips on the
'sounds' page of my very out of date website. The 'Evrah/Steve track
has some DL4 looping, and 'cello loop No 1' was my first Mobius
recording, although it's over a year old and not representative of where I
am now. There's also details of next week's gig on the
'performances' page.=20

=0A=0A=0A      
--0-1273513618-1228927553=:3485
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Welcome aboard!</DIV>
<DIV>&nbsp;</DIV>
<DIV>"Loopski"<BR><BR>--- On <B>Wed, 12/10/08, Stephen Moyes <I>&lt;stephenmoyes@blueyonder.co.uk&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Stephen Moyes &lt;stephenmoyes@blueyonder.co.uk&gt;<BR>Subject: Introduction<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Wednesday, December 10, 2008, 7:11 AM<BR><BR><PRE>Greetings loopers,

I have been lurking on this mailing list for a couple of years and thought it
was about time I introduced myself and started to get involved in some of your
wonderful discussions.

I'm based in Kent in south-east England and I have been playing music on
various instruments for most of my life. I got my first guitar for my 16th
birthday (over 30 years ago!) it became my main instrument. I also took up the
cello five or six years ago.

I'm mainly a free improvisor, although I also dabble in computer based
composition and various other odd musical projects.

My first 'proper' looping device was a Vortex and I started using a DL4
soonafter they became available. I started experementing with Mobius last year
and have been spending more time learning it recently. Next Wednesday I'm
doing my first public guitar/laptop/Mobius performance in London.

I have learned a lot from reading this list and beem introduced to a huge
amount of great music. I look forward to getting involved with future
discussions and being part of your lovely looping community.

Best wishes to you all,

Steve
www.stevemoyes.org.uk

p.s. If anyone' interested there are some short sound clips on the
'sounds' page of my very out of date website. The 'Evrah/Steve track
has some DL4 looping, and 'cello loop No 1' was my first Mobius
recording, although it's over a year old and not representative of where I
am now. There's also details of next week's gig on the
'performances' page. 

</PRE></BLOCKQUOTE></td></tr></table><br>

      
--0-1273513618-1228927553=:3485--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 16:52:36 2008
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Date: Wed, 10 Dec 2008 17:52:35 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Introduction
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Hi Steve,

Nice seeing new virtual faces on the list! :-))
Listened to your clips and liked it. What's making those bell like
sounds in the cello piece? (the metallic sounding, not the filtering).

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Wed, Dec 10, 2008 at 4:11 PM, Stephen Moyes
<stephenmoyes@blueyonder.co.uk> wrote:
> Greetings loopers,
>
> I have been lurking on this mailing list for a couple of years and thought
> it was about time I introduced myself and started to get involved in some of
> your wonderful discussions.
>
> I'm based in Kent in south-east England and I have been playing music on
> various instruments for most of my life. I got my first guitar for my 16th
> birthday (over 30 years ago!) it became my main instrument. I also took up
> the cello five or six years ago.
>
> I'm mainly a free improvisor, although I also dabble in computer based
> composition and various other odd musical projects.
>
> My first 'proper' looping device was a Vortex and I started using a DL4
> soonafter they became available. I started experementing with Mobius last
> year and have been spending more time learning it recently. Next Wednesday
> I'm doing my first public guitar/laptop/Mobius performance in London.
>
> I have learned a lot from reading this list and beem introduced to a huge
> amount of great music. I look forward to getting involved with future
> discussions and being part of your lovely looping community.
>
> Best wishes to you all,
>
> Steve
> www.stevemoyes.org.uk
>
> p.s. If anyone' interested there are some short sound clips on the 'sounds'
> page of my very out of date website. The 'Evrah/Steve track has some DL4
> looping, and 'cello loop No 1' was my first Mobius recording, although it's
> over a year old and not representative of where I am now. There's also
> details of next week's gig on the 'performances' page.
>
>

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The rotary encoders are notorious for early failure.  They're almost always
the problem.  I've had a couple repaired by Lexicon, but I've also had them
sent them to me and installed them  myself semi-successfully. (one screwup
with overheating and destroying the pot).  I've had 6 or 7 Vortexes and one
last one in my rack that acts semi-weird and I'm really starting to become
very of dealing with them. Gotta find something new for parallel stereo
tweakage!

On 12/9/08, mark francombe <mark@markfrancombe.com> wrote:
>
> Well thank you for that Stefan... love the analogy...
> I would go with your ideas but my vortex does sem to have an odd problem,
> in that a "reboot" fixes the problem for a while, untill I rotate an
> encoder, and not always... if i leave it on a patch, no problems... the
> echos will never disappear... it only when I twiddle my knob... (damn tha=
t
> analogy)
>
> m
>
>
>
> On Tue, Dec 9, 2008 at 11:15 PM, Stefan Tiedje <
> stefantiedje@googlemail.com> wrote:
>
>> andy butler schrieb:
>>
>>> Hmm why do you think its a leaky capacitor?
>>>>
>>>
>>> Electrolytic Capacitors on the the various power rails
>>> are likely components to fail.
>>> Also diodes in the power regulation, but that's more obvious
>>> to find.
>>>
>>
>> The most likely thing to fail in any electrical device is connectors,
>> cable connectors, or IC connections. Open the box and give all connector=
s
>> good sex. (You know, push'em in and out till they scream). Only if that
>> fails smell and look for blown parts...
>> (Looping devices are like loopers, only if sex doesn't help you have to =
go
>> to the doctor...)
>>
>> Stefan
>>
>> --
>> Les Ondes M=E9morielles----x-------
>> --_____-----------|--------------
>> --(_|_ ----|\-----|-----()-------
>> -- _|_)----|-----()--------------
>> ----------()----------TJ Shredder
>>
>>
>
>
> --
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no
>



--=20
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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The rotary encoders are notorious for early failure.&nbsp; They&#39;re
almost always the problem.&nbsp; I&#39;ve had a couple repaired by Lexicon,
but I&#39;ve also had them sent them to me and installed them&nbsp; myself
semi-successfully. (one screwup with overheating and destroying the
pot).&nbsp; I&#39;ve had 6 or 7 Vortexes and one last one in my rack that
acts semi-weird and I&#39;m really starting to become very of dealing with
them. Gotta find something new for parallel stereo tweakage!<br><br><div><s=
pan class=3D"gmail_quote">On 12/9/08, <b class=3D"gmail_sendername">mark fr=
ancombe</b> &lt;<a href=3D"mailto:mark@markfrancombe.com">mark@markfrancomb=
e.com</a>&gt; wrote:</span><blockquote class=3D"gmail_quote" style=3D"borde=
r-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-le=
ft: 1ex;">
Well thank you for that Stefan... love the analogy... <br>I would go
with your ideas but my vortex does sem to have an odd problem, in that
a &quot;reboot&quot; fixes the problem for a while, untill I rotate an enco=
der,
and not always... if i leave it on a patch, no problems... the echos
will never disappear... it only when I twiddle my knob... (damn that
analogy)<br>
<br>m <br><div><span class=3D"e" id=3D"q_11e1e319f8d9db10_1"><br><br><br><d=
iv class=3D"gmail_quote">On Tue, Dec 9, 2008 at 11:15 PM, Stefan Tiedje <sp=
an dir=3D"ltr">&lt;<a href=3D"mailto:stefantiedje@googlemail.com" target=3D=
"_blank" onclick=3D"return top.js.OpenExtLink(window,event,this)">stefantie=
dje@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
andy butler schrieb:<div><br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><blockquote class=
=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); margin=
: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">


Hmm why do you think its a leaky capacitor?<br>
</blockquote>
<br>
Electrolytic Capacitors on the the various power rails<br>
are likely components to fail.<br>
Also diodes in the power regulation, but that&#39;s more obvious<br>
to find.<br>
</blockquote>
<br></div>
The most likely thing to fail in any electrical device is connectors,
cable connectors, or IC connections. Open the box and give all
connectors good sex. (You know, push&#39;em in and out till they scream).
Only if that fails smell and look for blown parts...<br>

(Looping devices are like loopers, only if sex doesn&#39;t help you have to=
 go to the doctor...)<br>
<br>
Stefan<br><font color=3D"#888888">
<br>
-- <br>
Les Ondes M=E9morielles----x-------<br>
--_____-----------|--------------<br>
--(_|_ ----|\-----|-----()-------<br>
-- _|_)----|-----()--------------<br>
----------()----------TJ Shredder<br>
<br>
</font></blockquote></div><br><br clear=3D"all"><br></span></div><span clas=
s=3D"sg">-- <br><a href=3D"http://www.markfrancombe.com" target=3D"_blank" =
onclick=3D"return top.js.OpenExtLink(window,event,this)">www.markfrancombe.=
com</a><br>
<a href=3D"http://vimeo.com/user825094" target=3D"_blank" onclick=3D"return=
 top.js.OpenExtLink(window,event,this)">http://vimeo.com/user825094</a><br>=
<a href=3D"http://uk.youtube.com/user/markfrancombe" target=3D"_blank" oncl=
ick=3D"return top.js.OpenExtLink(window,event,this)">http://uk.youtube.com/=
user/markfrancombe</a><br>

<a href=3D"http://www.myspace.com/markfrancombe" target=3D"_blank" onclick=
=3D"return top.js.OpenExtLink(window,event,this)">http://www.myspace.com/ma=
rkfrancombe</a><br><a href=3D"http://www.looop.no" target=3D"_blank" onclic=
k=3D"return top.js.OpenExtLink(window,event,this)">www.looop.no</a><br>

</span></blockquote></div><br><br clear=3D"all"><br>-- <br>Miko Biffle<br>B=
iffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from a=
ll the usual distractions!&quot;

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The two weak links on the Vortex are the rotary encoder and the external
power supply.  One way to avoid wear and tear on the encoder is to use an
external footswitch to change program values.

TH

On Wed, Dec 10, 2008 at 10:14 AM, Mikkoz <biffoz@gmail.com> wrote:

> The rotary encoders are notorious for early failure.  They're almost always
> the problem.  I've had a couple repaired by Lexicon, but I've also had them
> sent them to me and installed them  myself semi-successfully. (one screwup
> with overheating and destroying the pot).  I've had 6 or 7 Vortexes and one
> last one in my rack that acts semi-weird and I'm really starting to become
> very of dealing with them. Gotta find something new for parallel stereo
> tweakage!
>
>
>

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The two weak links on the Vortex are the rotary encoder and the external power supply.&nbsp; One way to avoid wear and tear on the encoder is to use an external footswitch to change program values.<br><br>TH<br><br><div class="gmail_quote">
On Wed, Dec 10, 2008 at 10:14 AM, Mikkoz <span dir="ltr">&lt;<a href="mailto:biffoz@gmail.com">biffoz@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
The rotary encoders are notorious for early failure.&nbsp; They&#39;re
almost always the problem.&nbsp; I&#39;ve had a couple repaired by Lexicon,
but I&#39;ve also had them sent them to me and installed them&nbsp; myself
semi-successfully. (one screwup with overheating and destroying the
pot).&nbsp; I&#39;ve had 6 or 7 Vortexes and one last one in my rack that
acts semi-weird and I&#39;m really starting to become very of dealing with
them. Gotta find something new for parallel stereo tweakage!<div><div></div><div class="Wj3C7c"><br><br></div></div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 18:48:48 2008
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Date: Wed, 10 Dec 2008 12:48:41 -0500
From: Dan Ash <Daniel.Ash@Verizon.net>
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Stephen,

Welcome!

I enjoyed the clips 'Feral Choir' and 'Evrah/Steve' very much.  'Cello 
Loop No.1' could be the soundtrack for the rest of my day...

Hope your London looping debut goes well - break a leg!

Dan Ash
White Plains, NY

> Subject:
> Introduction
> From:
> "Stephen Moyes" <stephenmoyes@blueyonder.co.uk>
> Date:
> Wed, 10 Dec 2008 15:11:00 -0000
>
> To:
> <Loopers-Delight@loopers-delight.com>
>
>
> Greetings loopers,
>
> I have been lurking on this mailing list for a couple of years and 
> thought it was about time I introduced myself and started to get 
> involved in some of your wonderful discussions.
>
> I'm based in Kent in south-east England and I have been playing music 
> on various instruments for most of my life. I got my first guitar for 
> my 16th birthday (over 30 years ago!) it became my main instrument. I 
> also took up the cello five or six years ago.
>
> I'm mainly a free improvisor, although I also dabble in computer based 
> composition and various other odd musical projects.
>
> My first 'proper' looping device was a Vortex and I started using a 
> DL4 soonafter they became available. I started experementing with 
> Mobius last year and have been spending more time learning it 
> recently. Next Wednesday I'm doing my first public 
> guitar/laptop/Mobius performance in London.
>
> I have learned a lot from reading this list and beem introduced to a 
> huge amount of great music. I look forward to getting involved with 
> future discussions and being part of your lovely looping community.
>
> Best wishes to you all,
>
> Steve
> www.stevemoyes.org.uk
>
> p.s. If anyone' interested there are some short sound clips on the 
> 'sounds' page of my very out of date website. The 'Evrah/Steve track 
> has some DL4 looping, and 'cello loop No 1' was my first Mobius 
> recording, although it's over a year old and not representative of 
> where I am now. There's also details of next week's gig on the 
> 'performances' page.



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Have a good one on Wednesday - I'll try and make it down mate I live  
in Tottenham.

Matt Stevens
www.mattstevensguitar.com
mattstevensguitar@btinternet.com




On 10 Dec 2008, at 15:11, Stephen Moyes wrote:

> Greetings loopers,
>
> I have been lurking on this mailing list for a couple of years and  
> thought it was about time I introduced myself and started to get  
> involved in some of your wonderful discussions.
>
> I'm based in Kent in south-east England and I have been playing  
> music on various instruments for most of my life. I got my first  
> guitar for my 16th birthday (over 30 years ago!) it became my main  
> instrument. I also took up the cello five or six years ago.
>
> I'm mainly a free improvisor, although I also dabble in computer  
> based composition and various other odd musical projects.
>
> My first 'proper' looping device was a Vortex and I started using a  
> DL4 soonafter they became available. I started experementing with  
> Mobius last year and have been spending more time learning it  
> recently. Next Wednesday I'm doing my first public guitar/laptop/ 
> Mobius performance in London.
>
> I have learned a lot from reading this list and beem introduced to  
> a huge amount of great music. I look forward to getting involved  
> with future discussions and being part of your lovely looping  
> community.
>
> Best wishes to you all,
>
> Steve
> www.stevemoyes.org.uk
>
> p.s. If anyone' interested there are some short sound clips on the  
> 'sounds' page of my very out of date website. The 'Evrah/Steve  
> track has some DL4 looping, and 'cello loop No 1' was my first  
> Mobius recording, although it's over a year old and not  
> representative of where I am now. There's also details of next  
> week's gig on the 'performances' page.
>


--Apple-Mail-3--626337138
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Have a good one on Wednesday - I'll try and make it down mate I live in =
Tottenham.<div><br><div> <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; "><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-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: 0px; "><div>Matt =
Stevens</div><div>www.mattstevensguitar.com</div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a></div><div><br></div></span><br =
class=3D"Apple-interchange-newline"></span><br =
class=3D"Apple-interchange-newline"> </div><br><div><div>On 10 Dec 2008, =
at 15:11, Stephen Moyes wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Greetings loopers,</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; ">I have been =
lurking on this mailing list for a couple of years and thought it was =
about time I introduced myself and started to get involved in some of =
your wonderful discussions.</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; ">I'm based in Kent in south-east =
England and I have been playing music on various instruments for most of =
my life. I got my first guitar for my 16th birthday (over 30 years ago!) =
it became my main instrument. I also took up the cello five or six years =
ago.</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; ">I'm mainly a free improvisor, although I also dabble =
in computer based composition and various other odd musical =
projects.</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; ">My first 'proper' looping device was a Vortex and I =
started using a DL4 soonafter they became available. I started =
experementing with Mobius last year and have been spending more time =
learning it recently. Next Wednesday I'm doing my first public =
guitar/laptop/Mobius performance in London.</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; ">I have =
learned a lot from reading this list and beem introduced to a huge =
amount of great music. I look forward to getting involved with future =
discussions and being part of your lovely looping community.</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; ">Best =
wishes to you all,</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; ">Steve</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">www.stevemoyes.org.uk</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; ">p.s. If =
anyone' interested there are some short sound clips on the 'sounds' page =
of my very out of date website. The 'Evrah/Steve track has some DL4 =
looping, and 'cello loop No 1' was my first Mobius recording, although =
it's over a year old and not representative of where I am now. There's =
also details of next week's gig on the 'performances' page.<span =
class=3D"Apple-converted-space">=A0</span></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; =
min-height: 14px; "><br></div> =
</blockquote></div><br></div></body></html>=

--Apple-Mail-3--626337138--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 19:43:03 2008
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Subject: Re: Introduction
Date: Wed, 10 Dec 2008 19:43:12 -0000
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Thanks for the welcomes, Elmer, Per and Dan,

Per - The bell like metallic overtones on the cello piece are made with a 
vst plugin called Dronebox, which is meant to make a guitar sound like a 
sitar.

Dan - Glad you liked some of the music. I'm particulrly glad that you 
enjoyed the Feral Choir. Although it's always rewarding and fun to 
participate in, I often wonder if anyone in the world would ever want to 
actually listen to it..

Cheers,

Steve
www.stevemoyes.org.uk 


From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 20:55:34 2008
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Date: Wed, 10 Dec 2008 21:50:31 +0100
From: "mark francombe" <mark@markfrancombe.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Vortex problem
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Wow.. ill have to go back to the manual, but i never knew that.. i always
thought that one had to be careful that the number currently displayed was
NOT being tweaked by the pedal as it disnt save the pedal position but the
encoders position... maybe i was wrong.. you learn something new every
hour!!

On Wed, Dec 10, 2008 at 7:36 PM, Travis Hartnett
<travishartnett@gmail.com>wrote:

> The two weak links on the Vortex are the rotary encoder and the external
> power supply.  One way to avoid wear and tear on the encoder is to use an
> external footswitch to change program values.
>
> TH
>
>
> On Wed, Dec 10, 2008 at 10:14 AM, Mikkoz <biffoz@gmail.com> wrote:
>
>> The rotary encoders are notorious for early failure.  They're almost
>> always the problem.  I've had a couple repaired by Lexicon, but I've also
>> had them sent them to me and installed them  myself semi-successfully. (one
>> screwup with overheating and destroying the pot).  I've had 6 or 7 Vortexes
>> and one last one in my rack that acts semi-weird and I'm really starting to
>> become very of dealing with them. Gotta find something new for parallel
>> stereo tweakage!
>>
>>
>>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Wow.. ill have to go back to the manual, but i never knew that.. i always thought that one had to be careful that the number currently displayed was NOT being tweaked by the pedal as it disnt save the pedal position but the encoders position... maybe i was wrong.. you learn something new every hour!!<br>
<br><div class="gmail_quote">On Wed, Dec 10, 2008 at 7:36 PM, Travis Hartnett <span dir="ltr">&lt;<a href="mailto:travishartnett@gmail.com">travishartnett@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
The two weak links on the Vortex are the rotary encoder and the external power supply.&nbsp; One way to avoid wear and tear on the encoder is to use an external footswitch to change program values.<br><font color="#888888"><br>
TH</font><div><div></div><div class="Wj3C7c"><br><br><div class="gmail_quote">
On Wed, Dec 10, 2008 at 10:14 AM, Mikkoz <span dir="ltr">&lt;<a href="mailto:biffoz@gmail.com" target="_blank">biffoz@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">

The rotary encoders are notorious for early failure.&nbsp; They&#39;re
almost always the problem.&nbsp; I&#39;ve had a couple repaired by Lexicon,
but I&#39;ve also had them sent them to me and installed them&nbsp; myself
semi-successfully. (one screwup with overheating and destroying the
pot).&nbsp; I&#39;ve had 6 or 7 Vortexes and one last one in my rack that
acts semi-weird and I&#39;m really starting to become very of dealing with
them. Gotta find something new for parallel stereo tweakage!<div><div></div><div><br><br></div></div></blockquote></div><br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

------=_Part_132894_14523418.1228942231892--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 10 23:30:07 2008
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Date: Wed, 10 Dec 2008 15:30:02 -0800
From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Introduction
Cc: Stephen Moyes <stephenmoyes@blueyonder.co.uk>
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Stephen,

Really nice music.

I think "Feral Choir" is the best thing I've heard in a while.

"Cello Loop No.1" is a close second.=20

After I was done listening, and for the heck of it, I opened them all in Qu=
ickTime and played them as loops - jumping from one QT Player to another ma=
king my own (sort of) remised "composition."

Try it -- they all work together as a group that way.

--
tEd =C2=AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e intends to eat until he eats them. =E2=80=93 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

---- Stephen Moyes <stephenmoyes@blueyonder.co.uk> wrote:=20
> Greetings loopers,
>=20
> I have been lurking on this mailing list for a couple of years and though=
t=20
> it was about time I introduced myself and started to get involved in some=
 of=20
> your wonderful discussions.
>=20
> I'm based in Kent in south-east England and I have been playing music on=
=20
> various instruments for most of my life. I got my first guitar for my 16t=
h=20
> birthday (over 30 years ago!) it became my main instrument. I also took u=
p=20
> the cello five or six years ago.
>=20
> I'm mainly a free improvisor, although I also dabble in computer based=20
> composition and various other odd musical projects.
>=20
> My first 'proper' looping device was a Vortex and I started using a DL4=
=20
> soonafter they became available. I started experementing with Mobius last=
=20
> year and have been spending more time learning it recently. Next Wednesda=
y=20
> I'm doing my first public guitar/laptop/Mobius performance in London.
>=20
> I have learned a lot from reading this list and beem introduced to a huge=
=20
> amount of great music. I look forward to getting involved with future=20
> discussions and being part of your lovely looping community.
>=20
> Best wishes to you all,
>=20
> Steve
> www.stevemoyes.org.uk
>=20
> p.s. If anyone' interested there are some short sound clips on the 'sound=
s'=20
> page of my very out of date website. The 'Evrah/Steve track has some DL4=
=20
> looping, and 'cello loop No 1' was my first Mobius recording, although it=
's=20
> over a year old and not representative of where I am now. There's also=20
> details of next week's gig on the 'performances' page.=20
>=20
>

From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 02:05:19 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <A9924404-4D5F-47C1-A751-BA98D38F09B5@btinternet.com> <66f9cc1e0812100415p54fd505do852903f7afaa9170@mail.gmail.com> <B530EC41-68A4-4521-BE42-FA4B5310891F@btinternet.com> <006c01c95ad9$82e468e0$cb04c150@yourc9d9764718> <708809D2-930A-43B3-B593-A848C82A3280@btinternet.com>
Subject: Re: Introduction
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Thanks, Matt. It would be lovely to see you there.
  ----- Original Message -----=20
  From: Matt Stevens=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, December 10, 2008 7:14 PM
  Subject: Re: Introduction


  Have a good one on Wednesday - I'll try and make it down mate I live =
in Tottenham.


  Matt Stevens
  www.mattstevensguitar.com
  mattstevensguitar@btinternet.com




------=_NextPart_000_004C_01C95B34.EF61F090
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 6.00.2900.3429" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; webkit-nbsp-mode: space; =
webkit-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV>Thanks, Matt. It would be lovely to see you there.</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=3Dmattstevensguitar@btinternet.com=20
  href=3D"mailto:mattstevensguitar@btinternet.com">Matt Stevens</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, December 10, =
2008 7:14=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Introduction</DIV>
  <DIV><BR></DIV>Have a good one on Wednesday - I'll try and make it =
down mate I=20
  live in Tottenham.
  <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; orphans: 2; widows: =
2; 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"><SPAN=20
  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; orphans: 2; widows: =
2; 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: 0px">
  <DIV>Matt Stevens</DIV>
  <DIV><A=20
  =
href=3D"http://www.mattstevensguitar.com">www.mattstevensguitar.com</A></=
DIV>
  <DIV><A=20
  =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinte=
rnet.com</A></DIV>
  <DIV><BR></DIV></SPAN><BR=20
class=3DApple-interchange-newline></SPAN></DIV></DIV></BLOCKQUOTE></BODY>=
</HTML>

------=_NextPart_000_004C_01C95B34.EF61F090--


From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 08:33:31 2008
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mark francombe wrote:
> Wow.. ill have to go back to the manual, but i never knew that.. i 
> always thought that one had to be careful that the number currently 
> displayed was NOT being tweaked by the pedal as it disnt save the pedal 
> position but the encoders position...

after you tweak away with the pedal the first click of the encoder 
loads that value to the current register, it is then saveable.

Otherwise you lose the value you found with the pedal when you
edit a different param, and the ped position isn't saved.


As it's over an hour later:
Resolution of the pedal is 128 steps, twice as many as the knob value
(and the saved value).


andy

> 

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From: Bill Fox <billyfox@soundscapes.us>
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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
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll continue the month-long
Special Focus on Tangerine Dream, the most emulated band in electronic
music.  The Featured CD at Midnight will "Tangram 2008" by Tangerine
Dream on Eastgate Records.

For details, see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#oct

Become a friend of Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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, December 13 at 6:00
am.  I will continue the special on Sequences 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 EST / GMT-5:00 / ITZ-5:00.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://war.str3am.com:7880/listen.pls

Listen to WMUH on-line at http://www.muhlenberg.edu/wmuh and click one
of the LISTEN NOW links at the top right corner of the page or go
directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm or
http://muhlenberg.edu/wmuh/WMUH.ram

From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 12:26:32 2008
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This is a fascinating article about the city that has declared 
International Live Looping
Day in the city for the last five straight years and still boasts 
perhaps the largest
per capita population of live looping artists of any city on the planet.

I'm proud of this place so I wanted to share it with all of you who have 
played the
Y2K festivals in past years or are considering doing so.   

Rick Walker


    The Leftmost City: Power & Progressive Politics in Santa Cruz


        by G. William Domhoff


        December 2008

Santa Cruz, California may be the most politically progressive city in 
the United States.An unlikely confederation of socialist-feminists, 
social-welfare liberals, neighborhood activists, and environmentalists 
has stopped every major development project since 1969 and controlled 
the city council since 1981. Berkeley, Burlington, Madison, San 
Francisco, Santa Monica -- none of them had as progressive a government 
for even half as long.

Since most cities are usually controlled by real estate developers and 
their buddies, Santa Cruz is a good test case for comparing theories of 
urban power. Atypical cases are helpful in eliminating theories from 
consideration if they cannot explain the unexpected events.

That's why Richard Gendron and I wrote /The Leftmost City: Power and 
Progressive Politics in Santa Cruz/ 
<http://www.amazon.com/exec/obidos/ASIN/0813344387/adamschneishomep> (Westview 
Press, 2009). It concludes that the growth coalition theory 
<http://sociology.ucsc.edu/whorulesamerica/power/local.html> of urban 
power is the one urban theorists should build on because the basic 
political conflict in Santa Cruz pitted downtown landowners and real 
estate developers against neighborhood activists, who unexpectedly 
triumphed because they had the help of faculty, staff, and students at 
UC Santa Cruz, the most liberal public university in the country, as 
well as environmentalists who wanted to protect the beautiful coastline 
from Santa Cruz to San Francisco. We then point out the weaknesses of 
the three main alternatives to growth coalition theory: public choice 
theory, urban Marxist theory, and public choice theory, which are 
also discussed on this site 
<http://sociology.ucsc.edu/whorulesamerica/power/rival_urban_theories.html>.

This Web site can be considered a supplement to that book for those who 
want to know more about the history of the city and the political 
leaders who have run it. It also provides information on other books and 
Web sites about Santa Cruz.

<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/map-california.jpg> 

Map of California
[enlarge] 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/map-california.jpg> 



      About Santa Cruz

      Santa Cruz is a picturesque city of 58,000 people on the Pacific
      coast, 75 miles south of San Francisco. It may not be paradise,
      but it's a very attractive place to live compared to many American
      cities. Nestled on a ten-mile strip of coastal shelf land between
      the heavily forested Santa Cruz Mountains to the north and the
      shorelines of Monterey Bay to the south, the city has breathtaking
      vistas
      <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/wharf-bay-monterey.jpg> from
      both its hillsides and beaches.

      The city enjoys an invigorating climate with moderate temperatures
      year round: no snow or freezing weather in the winter, and very
      few days in the summer with high humidity or temperatures above
      85°F. Most of the rain is in late fall, winter and early spring,
      leaving many months of the year virtually free of precipitation.
      The wind can be chilly near the ocean, and the fog a bit
      depressing when it hangs on late into the day for a week or two,
      but most days are sunny and clear.


      A Brief History of Santa Cruz

<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/giant_redwood.jpg> 

Logger on old-growth redwood tree, early 1900s
[enlarge] 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/giant_redwood.jpg> 


Thanks to a fast-flowing river and the heavily forested mountainsides, 
Santa Cruz had a number of natural assets that made it possible for real 
estate owners in the little central business district to attract 
capitalists and workers to the area. The river currents were ideal for 
powering lumber and paper mills, which provided a major boost for a 
timber industry that was profitable first and foremost because of its 
giant redwood trees, renowned for their beauty, durability, and 
resistance to decay and insects. An ample supply of madrone and alder 
trees, which provided a good base for making explosives, brought a 
manufacturer of blasting powder and gunpowder to an area in the 
mountains a few miles northeast of the city.

<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/lime_kilns.jpg>
Lime kilns at the Cowell Ranch (now UCSC)
[enlarge] 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/lime_kilns.jpg>

The abundance of bark from tan-oaks -- a cheap source of the tannic acid 
necessary for tanning hides -- led to a large tanning industry; by 1870, 
ten tanneries, making use of hides from the Mission Santa Cruz and the 
few remaining cattle ranches, supplied half the saddle leather produced 
in the state. And the limestone in the hills and mountains behind Santa 
Cruz became valuable because of its role in making plaster and mortar 
for use in the construction of stone or brick structures, leading to the 
development of several limestone quarries that by 1880 were supplying 
more than half of the lime used for construction in the fast-growing 
cities of San Francisco, Oakland, San Jose, and Sacramento.

<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/suntan_special.jpg> 

A 1947 "Suntan Special" train arrives from theBay Area
[enlarge] 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/suntan_special.jpg> 


Because of its beachfront setting, Santa Cruz started to be a tourist 
destination very shortly after California became a state in 1850, and it 
has long been known for its laid-back atmosphere and beachfront 
amusement park and boardwalk, complete with an old-fashioned wooden 
roller coaster -- the Giant Dipper -- that dates back to 1924. Santa 
Cruz is also renowned as a great place to surf or watch surfing 
contests, earning it a mention in the Beach Boys' 1963 classic "Surfin' 
USA."

Santa Cruz became a college town in 1965 with the opening of a new 
campus of the University of California. The local landowners were 
overjoyed by winning the competition for the new campus; they envisioned 
huge growth based on new industries that wanted to be near a university. 
But no new industries arrived. To their chagrin, however, the campus 
became a competing power base, with its faculty, staff, and students 
providing neighborhoods with the added money, expertise, and leadership 
necessary to reject or control new real estate developments when they 
impinged on the quality of local life. The campus became even more of a 
"Trojan horse" after 1971, when the 26th Amendment granted voting 
privileges to 18- to 20-year-olds and made an already activist student 
body into an overwhelmingly progressive voting bloc large enough to 
swing elections in a pro-neighborhood, pro-environment direction when it 
could be mobilized.

Click here 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/history.html> for a 
much more detailed history of Santa Cruz and its growth coalition.


      The 1989 Loma Prieta Earthquake

<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/pacific_garden_mall_damage.jpg> 

Damage from the 1989 earthquake
[enlarge] 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/images/pacific_garden_mall_damage.jpg> 


Beyond its atypical power structure, there is another reason why Santa 
Cruz is an interesting test case: eight years after the progressives 
finally took control of the city council, they faced an unprecedented 
challenge when the main business district was almost completely 
destroyed by a large earthquake that struck the area on October 17, 
1989, with its epicenter just 10 miles from Santa Cruz. Three people 
were killed in the downtown area and nearly half of the downtown 
buildings had to be torn down, with many others suffering damage that 
required major repairs. Stunned city residents huddled in grief as they 
saw the entire downtown core being fenced off.

The downtown businesses that didn't go bankrupt or move elsewhere had to 
move into large tent-like pavilions that were hastily erected on city 
parking lots just outside the cordoned-off area. In the process, the 
quake also put power issues on the table once again. It handed the 
disheartened business leaders what some of them saw as a golden 
opportunity to regain their political ascendancy by showing how 
necessary they were to economic prosperity. For the progressives, the 
disaster was fraught with political danger: they needed to rebuild the 
downtown in order to have the tax revenues to continue their ambitious 
social programs, but they feared and distrusted the downtown land and 
business owners after almost two decades of bitter political warfare.

After a long political argument between the progressives and the 
downtown business community (which is discussed in detail in /The 
Leftmost City/), the city slowly recovered in the late 1990s and now has 
a new Pacific Avenue that is almost as vibrant as the old Pacific Garden 
Mall.


For a more detailed account of the history of Santa Cruz from a 
sociological perspective, please read the document entitled "The History 
of Santa Cruz" 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/history.html>, 
which leads directly into"Progressive Politics in Santa Cruz" 
<http://sociology.ucsc.edu/whorulesamerica/santacruz/progressive_politics.html>.


<http://sociology.ucsc.edu/whorulesamerica/santacruz/?print>

From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 13:44:44 2008
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> This is a fascinating article about the city that has declared 
> International Live Looping
> Day in the city for the last five straight years and still boasts 
> perhaps the largest
> per capita population of live looping artists of any city on the planet=
.

Why don't you start an "Old men house" for live loopers? I seriously cons=
ider to move to Santa Cruz once I've retired ;) 
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

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Date: Thu, 11 Dec 2008 09:16:02 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
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I've started planting the seed to my boss that our first branch office ought
to be in Santa Cruz (his long-term pipe dream was San Diego for the climate,
but I'm trying to tip the scales towards fun & talent availability). I don't
think this article is going to help the case much, alas. I think it's way
cool, tho.

Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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I&#39;ve started planting the seed to my boss that our first branch office ought to be in Santa Cruz (his long-term pipe dream was San Diego for the climate, but I&#39;m trying to tip the scales towards fun &amp; talent availability). I don&#39;t think this article is going to help the case much, alas. I think it&#39;s way cool, tho.<br>
<br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 15:13:23 2008
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COUNT ME IN!!!!
(my original plan for retirement was to move to New York and start a Pistols
cover band... but I could do a Californian beach house.. on the porch, waves
lapping... )


> Why don't you start an "Old men house" for live loopers? I seriously
> consider to move to Santa Cruz once I've retired ;)
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
> Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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COUNT ME IN!!!!<br>(my original plan for retirement was to move to New York and start a Pistols cover band... but I could do a Californian beach house.. on the porch, waves lapping... )<br><br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
Why don&#39;t you start an &quot;Old men house&quot; for live loopers? I seriously consider to move to Santa Cruz once I&#39;ve retired ;)<br>
---<br>
Sjaak<br>
<a href="http://www.livelooping.be/" target="_blank">http://www.livelooping.be/</a><br>
<a href="http://www.overgaauw.be/" target="_blank">http://www.overgaauw.be/</a><br>
<a href="http://www.myspace.com/sjaakovergaauw" target="_blank">http://www.myspace.com/sjaakovergaauw</a><br>
<br>
---<br>
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!<br>
Doe mee en surf ook gratis! &gt;&gt; <a href="http://www.scarlet.be/nl/mgm" target="_blank">http://www.scarlet.be/nl/mgm</a><br>
<br>
</blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 15:28:44 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: OT  SANTA CRUZ   site of the Y2K9 International Live Looping Festival
Date: Thu, 11 Dec 2008 07:28:36 -0800
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Hi all,

If I could ever afford it I'd be there in a moment.

I'm certainly approaching (if not already at) "Old Man" status.

I'll probably have to retire in Mexico where it's cheaper however.

I lived there once, I could do it again.

I like the concepr of a "Home for Aged Loopers" though.

I fear the time is not too far off for me.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")
On Dec 11, 2008, at 5:44 AM, Sjaak wrote:

> Why don't you start an "Old men house" for live loopers? I seriously=20=

> consider to move to Santa Cruz once I've retired ;)
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
> Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm=

From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 17:46:53 2008
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In a message dated 12/11/08 10:28:57 AM, tedkillian@charter.net writes:


> I like the concepr of a "Home for Aged Loopers" though.
> 

and everyone thought i was being a clown all these years speaking of LOOPER 
ISLAND.....yikes!.....:)m



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010)

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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 12/11/08 10:28:57 AM, tedkillian@charter.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">I like the concepr of=
 a "Home for Aged Loopers" though.<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">and everyone thought i was being a clown all these years speaking of LOOP=
ER ISLAND.....yikes!.....:)m<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 18:39:21 2008
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Date: Thu, 11 Dec 2008 19:33:45 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
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Sorry for cracking pythonesque jokes about this interesting article,
but on the other hand I'm surprised nobody mentioned this:

> We then point out the weaknesses of the three main alternatives to growth coalition theory:
> public choice theory, urban Marxist theory, and public choice theory, which are also discussed on this site

It's like the three most important factors for real estate value:
location, location and location.

From Loopers-Delight-request@loopers-delight.com  Thu Dec 11 23:32:48 2008
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Great you've joined.
Welcome :)
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 00:40:33 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: OT  SANTA CRUZ   site of the Y2K9 International Live Looping Festival
To: Loopers-Delight@loopers-delight.com
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Santa Cruz fuckin rocks=20
period.


www.myspace.com/luisangulocom


--- On Thu, 12/11/08, Rick Walker <looppool@cruzio.com> wrote:

> From: Rick Walker <looppool@cruzio.com>
> Subject: OT  SANTA CRUZ   site of the Y2K9 International Live Looping Fes=
tival
> To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
> Date: Thursday, December 11, 2008, 4:26 AM
> This is a fascinating article about the city that has
> declared International Live Looping
> Day in the city for the last five straight years and still
> boasts perhaps the largest
> per capita population of live looping artists of any city
> on the planet.
>=20
> I'm proud of this place so I wanted to share it with
> all of you who have played the
> Y2K festivals in past years or are considering doing so.  =20
> Rick Walker
>=20
>=20
>    The Leftmost City: Power & Progressive Politics in
> Santa Cruz
>=20
>=20
>        by G. William Domhoff
>=20
>=20
>        December 2008
>=20
> Santa Cruz, California may be the most politically
> progressive city in the United States.An unlikely
> confederation of socialist-feminists, social-welfare
> liberals, neighborhood activists, and environmentalists has
> stopped every major development project since 1969 and
> controlled the city council since 1981. Berkeley,
> Burlington, Madison, San Francisco, Santa Monica -- none of
> them had as progressive a government for even half as long.
>=20
> Since most cities are usually controlled by real estate
> developers and their buddies, Santa Cruz is a good test case
> for comparing theories of urban power. Atypical cases are
> helpful in eliminating theories from consideration if they
> cannot explain the unexpected events.
>=20
> That's why Richard Gendron and I wrote /The Leftmost
> City: Power and Progressive Politics in Santa Cruz/
> <http://www.amazon.com/exec/obidos/ASIN/0813344387/adamschneishomep>
> (Westview Press, 2009). It concludes that the growth
> coalition theory
> <http://sociology.ucsc.edu/whorulesamerica/power/local.html>
> of urban power is the one urban theorists should build on
> because the basic political conflict in Santa Cruz pitted
> downtown landowners and real estate developers against
> neighborhood activists, who unexpectedly triumphed because
> they had the help of faculty, staff, and students at UC
> Santa Cruz, the most liberal public university in the
> country, as well as environmentalists who wanted to protect
> the beautiful coastline from Santa Cruz to San Francisco. We
> then point out the weaknesses of the three main alternatives
> to growth coalition theory: public choice theory, urban
> Marxist theory, and public choice theory, which are also
> discussed on this site
> <http://sociology.ucsc.edu/whorulesamerica/power/rival_urban_theories.htm=
l>.
>=20
> This Web site can be considered a supplement to that book
> for those who want to know more about the history of the
> city and the political leaders who have run it. It also
> provides information on other books and Web sites about
> Santa Cruz.
>=20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/map-californi=
a.jpg>
>=20
> Map of California
> [enlarge]
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/map-californi=
a.jpg>
>=20
>=20
>=20
>      About Santa Cruz
>=20
>      Santa Cruz is a picturesque city of 58,000 people on
> the Pacific
>      coast, 75 miles south of San Francisco. It may not be
> paradise,
>      but it's a very attractive place to live compared
> to many American
>      cities. Nestled on a ten-mile strip of coastal shelf
> land between
>      the heavily forested Santa Cruz Mountains to the north
> and the
>      shorelines of Monterey Bay to the south, the city has
> breathtaking
>      vistas
>    =20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/wharf-bay-mon=
terey.jpg>
> from
>      both its hillsides and beaches.
>=20
>      The city enjoys an invigorating climate with moderate
> temperatures
>      year round: no snow or freezing weather in the winter,
> and very
>      few days in the summer with high humidity or
> temperatures above
>      85=B0F. Most of the rain is in late fall, winter and
> early spring,
>      leaving many months of the year virtually free of
> precipitation.
>      The wind can be chilly near the ocean, and the fog a
> bit
>      depressing when it hangs on late into the day for a
> week or two,
>      but most days are sunny and clear.
>=20
>=20
>      A Brief History of Santa Cruz
>=20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/giant_redwood=
.jpg>
>=20
> Logger on old-growth redwood tree, early 1900s
> [enlarge]
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/giant_redwood=
.jpg>
>=20
>=20
> Thanks to a fast-flowing river and the heavily forested
> mountainsides, Santa Cruz had a number of natural assets
> that made it possible for real estate owners in the little
> central business district to attract capitalists and workers
> to the area. The river currents were ideal for powering
> lumber and paper mills, which provided a major boost for a
> timber industry that was profitable first and foremost
> because of its giant redwood trees, renowned for their
> beauty, durability, and resistance to decay and insects. An
> ample supply of madrone and alder trees, which provided a
> good base for making explosives, brought a manufacturer of
> blasting powder and gunpowder to an area in the mountains a
> few miles northeast of the city.
>=20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/lime_kilns.jp=
g>
> Lime kilns at the Cowell Ranch (now UCSC)
> [enlarge]
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/lime_kilns.jp=
g>
>=20
> The abundance of bark from tan-oaks -- a cheap source of
> the tannic acid necessary for tanning hides -- led to a
> large tanning industry; by 1870, ten tanneries, making use
> of hides from the Mission Santa Cruz and the few remaining
> cattle ranches, supplied half the saddle leather produced in
> the state. And the limestone in the hills and mountains
> behind Santa Cruz became valuable because of its role in
> making plaster and mortar for use in the construction of
> stone or brick structures, leading to the development of
> several limestone quarries that by 1880 were supplying more
> than half of the lime used for construction in the
> fast-growing cities of San Francisco, Oakland, San Jose, and
> Sacramento.
>=20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/suntan_specia=
l.jpg>
>=20
> A 1947 "Suntan Special" train arrives from theBay
> Area
> [enlarge]
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/suntan_specia=
l.jpg>
>=20
>=20
> Because of its beachfront setting, Santa Cruz started to be
> a tourist destination very shortly after California became a
> state in 1850, and it has long been known for its laid-back
> atmosphere and beachfront amusement park and boardwalk,
> complete with an old-fashioned wooden roller coaster -- the
> Giant Dipper -- that dates back to 1924. Santa Cruz is also
> renowned as a great place to surf or watch surfing contests,
> earning it a mention in the Beach Boys' 1963 classic
> "Surfin' USA."
>=20
> Santa Cruz became a college town in 1965 with the opening
> of a new campus of the University of California. The local
> landowners were overjoyed by winning the competition for the
> new campus; they envisioned huge growth based on new
> industries that wanted to be near a university. But no new
> industries arrived. To their chagrin, however, the campus
> became a competing power base, with its faculty, staff, and
> students providing neighborhoods with the added money,
> expertise, and leadership necessary to reject or control new
> real estate developments when they impinged on the quality
> of local life. The campus became even more of a "Trojan
> horse" after 1971, when the 26th Amendment granted
> voting privileges to 18- to 20-year-olds and made an already
> activist student body into an overwhelmingly progressive
> voting bloc large enough to swing elections in a
> pro-neighborhood, pro-environment direction when it could be
> mobilized.
>=20
> Click here
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/history.html>
> for a much more detailed history of Santa Cruz and its
> growth coalition.
>=20
>=20
>      The 1989 Loma Prieta Earthquake
>=20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/pacific_garde=
n_mall_damage.jpg>
>=20
> Damage from the 1989 earthquake
> [enlarge]
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/pacific_garde=
n_mall_damage.jpg>
>=20
>=20
> Beyond its atypical power structure, there is another
> reason why Santa Cruz is an interesting test case: eight
> years after the progressives finally took control of the
> city council, they faced an unprecedented challenge when the
> main business district was almost completely destroyed by a
> large earthquake that struck the area on October 17, 1989,
> with its epicenter just 10 miles from Santa Cruz. Three
> people were killed in the downtown area and nearly half of
> the downtown buildings had to be torn down, with many others
> suffering damage that required major repairs. Stunned city
> residents huddled in grief as they saw the entire downtown
> core being fenced off.
>=20
> The downtown businesses that didn't go bankrupt or move
> elsewhere had to move into large tent-like pavilions that
> were hastily erected on city parking lots just outside the
> cordoned-off area. In the process, the quake also put power
> issues on the table once again. It handed the disheartened
> business leaders what some of them saw as a golden
> opportunity to regain their political ascendancy by showing
> how necessary they were to economic prosperity. For the
> progressives, the disaster was fraught with political
> danger: they needed to rebuild the downtown in order to have
> the tax revenues to continue their ambitious social
> programs, but they feared and distrusted the downtown land
> and business owners after almost two decades of bitter
> political warfare.
>=20
> After a long political argument between the progressives
> and the downtown business community (which is discussed in
> detail in /The Leftmost City/), the city slowly recovered in
> the late 1990s and now has a new Pacific Avenue that is
> almost as vibrant as the old Pacific Garden Mall.
>=20
>=20
> For a more detailed account of the history of Santa Cruz
> from a sociological perspective, please read the document
> entitled "The History of Santa Cruz"
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/history.html>,
> which leads directly into"Progressive Politics in Santa
> Cruz"
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/progressive_politics=
.html>.
>=20
>=20
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/?print>=0A=0A=0A    =
  

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 00:56:57 2008
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Date: Thu, 11 Dec 2008 16:56:53 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
To: Loopers-Delight@loopers-delight.com
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Warren if move to San Diego let me know,aint much happening there but we can loop and go and worship the devil until something looping happens
lets start with a round of black guiness whatdayasay?
P.S. Rick Walker has a good talented friend there named Gary Lehman refer to him for further guidance

www.myspace.com/luisangulocom


--- On Thu, 12/11/08, Warren Sirota <wsirota@wsdesigns.com> wrote:

> From: Warren Sirota <wsirota@wsdesigns.com>
> Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
> To: Loopers-Delight@loopers-delight.com
> Date: Thursday, December 11, 2008, 6:16 AM
> I've started planting the seed to my boss that our first
> branch office ought
> to be in Santa Cruz (his long-term pipe dream was San Diego
> for the climate,
> but I'm trying to tip the scales towards fun &
> talent availability). I don't
> think this article is going to help the case much, alas. I
> think it's way
> cool, tho.
> 
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> http://www.warrensirota.com


      

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I will be out of the office starting  12/11/2008 and will not return until
12/22/2008.

For telecom issues, Genesys, Video or Audio Conferencing contact Greg
Bouffard at 323 932 3793.

***** PLEASE NOTE ***** This E-Mail/telefax message and any
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delete/destroy the message and any accompanying documents. Thank
you.*****  

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 03:17:45 2008
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Please do start a house for live looping in SC :P Being an aspiring
live looper and getting my first major musical inspiration from the
festival in 2002 I think it was, it would be great to meet a lot of
the best in person and learn from them. Also, it doesn't hurt that I
live in Santa Cruz :D but that's clearly not why I like the
idea...clearly....

On Thu, Dec 11, 2008 at 4:56 PM, L.Angulo <labaloops@yahoo.com> wrote:
> Warren if move to San Diego let me know,aint much happening there but we can loop and go and worship the devil until something looping happens
> lets start with a round of black guiness whatdayasay?
> P.S. Rick Walker has a good talented friend there named Gary Lehman refer to him for further guidance
>
> www.myspace.com/luisangulocom
>
>
> --- On Thu, 12/11/08, Warren Sirota <wsirota@wsdesigns.com> wrote:
>
>> From: Warren Sirota <wsirota@wsdesigns.com>
>> Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
>> To: Loopers-Delight@loopers-delight.com
>> Date: Thursday, December 11, 2008, 6:16 AM
>> I've started planting the seed to my boss that our first
>> branch office ought
>> to be in Santa Cruz (his long-term pipe dream was San Diego
>> for the climate,
>> but I'm trying to tip the scales towards fun &
>> talent availability). I don't
>> think this article is going to help the case much, alas. I
>> think it's way
>> cool, tho.
>>
>> Warren
>> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
>> http://www.warrensirota.com
>
>
>
>
>

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Date: Thu, 11 Dec 2008 21:46:28 -0800 (PST)
From: Jonathan Kessler <kesslari@yahoo.com>
Reply-To: kesslari@yahoo.com
Subject: Re: DL4 dual inputs
To: Loopers-Delight@loopers-delight.com
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How do you balance the volume for the mic/instrument going into the DL4?
Or has this not been a problem?


--- On Thu, 12/11/08, L.Angulo <labaloops@yahoo.com> wrote:

From: L.Angulo <labaloops@yahoo.com>
Subject: Re: DL4 dual inputs
To: kesslari@yahoo.com
Date: Thursday, December 11, 2008, 4:45 PM

i used it this way to process my voice on the Y2K8 in cologne but didnt hav=
e my
guitar through it because it was going through a separate delay(eventide) t=
o do
independent proccessing
seems like the new JM4 adresses this though

www.myspace.com/luisangulocom


--- On Tue, 12/9/08, Jonathan Kessler <kesslari@yahoo.com> wrote:

> From: Jonathan Kessler <kesslari@yahoo.com>
> Subject: DL4 dual inputs
> To: "loop list" <loopers-delight@loopers-delight.com>
> Date: Tuesday, December 9, 2008, 4:08 PM
> Very cool - never thought of that.=A0 I went and got a
> mixer...=A0 I like the simplicity of the mic going into the
> DL4, might have to try that.
> =A0
> JK
> =A0
> >I saw him playing on the street in San Francisco, and
> he had a mic and a guitar going >into a single DL4.=A0 I
> think he was making use of the dual inputs on the DL4.
> >
> >TH
>=20
>=20
> On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo
> <labaloops@yahoo.com> wrote:
>=20
> Genie is really cool indeed,how is he looping his voice i
> dont recall seeing any mixers,is the DL4 all he uses?
>=20
> www.myspace.com/luisangulocom




--0-1703693532-1229060788=:57311
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>How do you balance the volume for the mic/instrument going into the DL4?<BR>Or has this not been a problem?</DIV>
<DIV><BR><BR>--- On <B>Thu, 12/11/08, L.Angulo <I>&lt;labaloops@yahoo.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: L.Angulo &lt;labaloops@yahoo.com&gt;<BR>Subject: Re: DL4 dual inputs<BR>To: kesslari@yahoo.com<BR>Date: Thursday, December 11, 2008, 4:45 PM<BR><BR><PRE>i used it this way to process my voice on the Y2K8 in cologne but didnt have my
guitar through it because it was going through a separate delay(eventide) to do
independent proccessing
seems like the new JM4 adresses this though

www.myspace.com/luisangulocom


--- On Tue, 12/9/08, Jonathan Kessler &lt;kesslari@yahoo.com&gt; wrote:

&gt; From: Jonathan Kessler &lt;kesslari@yahoo.com&gt;
&gt; Subject: DL4 dual inputs
&gt; To: "loop list" &lt;loopers-delight@loopers-delight.com&gt;
&gt; Date: Tuesday, December 9, 2008, 4:08 PM
&gt; Very cool - never thought of that.&nbsp; I went and got a
&gt; mixer...&nbsp; I like the simplicity of the mic going into the
&gt; DL4, might have to try that.
&gt; &nbsp;
&gt; JK
&gt; &nbsp;
&gt; &gt;I saw him playing on the street in San Francisco, and
&gt; he had a mic and a guitar going &gt;into a single DL4.&nbsp; I
&gt; think he was making use of the dual inputs on the DL4.
&gt; &gt;
&gt; &gt;TH
&gt; 
&gt; 
&gt; On Mon, Dec 8, 2008 at 7:53 PM, L.Angulo
&gt; &lt;labaloops@yahoo.com&gt; wrote:
&gt; 
&gt; Genie is really cool indeed,how is he looping his voice i
&gt; dont recall seeing any mixers,is the DL4 all he uses?
&gt; 
&gt; www.myspace.com/luisangulocom



</PRE></BLOCKQUOTE></td></tr></table>
--0-1703693532-1229060788=:57311--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 06:08:39 2008
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Date: Thu, 11 Dec 2008 22:08:38 -0800
From: Nick <ParadoxQuine@gmail.com>
Sender: collective.reality@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
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I just traveled home (to santa cruz!) from school for winter break and
i set up my firebox and keyboard and kaoss pad and though i have the
proper cables running from the firebox to the kaoss pad and kaoss back
to the firebox, when i start up live it outputs to the speakers fine,
outputs to the kaoss pad fine, but inputs from the kaoss pad are at
about 2% volume. I've checked everything I can think of - ableton
recognizes everything, audio midi setup does too, sound preferences
are right (although are not showing any input though the firebox is
selected, though I'm assuming that is because it's on input channels
3+4), all the volume controls seems to be fine in audio setup,
ableton, on the kp, on the firebox, etc. I've rebooted about half a
dozen times (the computer, the kaoss pad, and the firebox, with no
change.)

could anyone give me some pointers on how to troubleshoot this please?
I don't think I've ever found a computer issue that stumped me this
much...and opening a terminal isn't working :P

Thanks!
Nick

From antonio_mrsamani@yahoo.com  Fri Dec 12 09:45:22 2008
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Date: Fri, 12 Dec 2008 01:38:46 -0800 (PST)
From: Mrs Amani Antonio <antonio_mrsamani@yahoo.com>
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I have a new email address!You can now email me at: antonio_mrsamani@yahoo.com



- My Dear Beloved,  It is with tears and pains that I write this mail from my sick bed in a hospital. I believe you have never met such a condition before. My name is Mrs Amani Antonio, widow to late Engineer George Antonio, former owner of Morgan Wine Company, here in Spain. I am, suffering from long time cancer of the breast. From all indications my condition is really deteriorating and it's quite obvious that I won't live more than 6 months according to my doctors. This is because the cancer stage has gotten to a very bad stage. I don't want your pity me, but I need your trust.  My late husband died in 29th January 2007 in a fatal accident in Malta in Europe during the period of our marriage we couldn't produce any child. My late husband was very wealthy and after his death, I inherited all his business and wealth. The doctor has advised me that I will not live for more than 2 months, so I have now decided to spread all my wealth, to contribute mainly to the development of charity in Africa, America, Asia and Europe. Am sorry if you are embarrassed by my mail.  I found your e-mail address as a real Child  of God for over a month now  that I have been investigating about you to know if really you are working according to the direction of God so after all my investigation I am convince, and I have decided to contact you, but if for any reason you find this mail offensive, you can ignore it and please accept my apology before my late husband died he deposited the sum of  €10,500,000.00 (Ten Million Five hundred thousand Euros)in a Bank some years ago here in Spain, I need your help to collect this funds and distribute it yourself to charity homes.  So that when I die my soul will rest in peace. The funds will be entirely in hands and management hope God gives you the wisdom to touch very many lives that is my main concern. 40% of this fund will be for your time and effort, while 60% goes to charity as i directed.  Contact me through this my private email: amani_antonio@hotmail.fr  Remain bless in the Lord. Mrs Amani Antonio 


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>antonio_mrsamani@yahoo.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">My Dear Beloved,  It is with tears and pains that I write this mail from my sick bed in a hospital. I believe you have never met such a condition before. My name is Mrs Amani Antonio, widow to late Engineer George Antonio, former owner of Morgan Wine Company, here in Spain. I am, suffering from long time cancer of the breast. From all indications my condition is really deteriorating and it's quite obvious that I won't live more than 6 months according to my doctors. This is because the cancer stage has gotten to a very bad stage. I don't want your pity me, but I need your trust.  My late husband died in 29th January 2007 in a fatal accident in Malta in Europe during the period of our marriage we couldn't produce any child. My late husband was very wealthy and after his death, I inherited all his business and wealth. The doctor has advised me that I will not live for more than 2 months, so I have now decided to spread all my wealth, to contribute mainly to the development of charity in Africa, America, Asia and Europe. Am sorry if you are embarrassed by my mail.  I found your e-mail address as a real Child  of God for over a month now  that I have been investigating about you to know if really you are working according to the direction of God so after all my investigation I am convince, and I have decided to contact you, but if for any reason you find this mail offensive, you can ignore it and please accept my apology before my late husband died he deposited the sum of  €10,500,000.00 (Ten Million Five hundred thousand Euros)in a Bank some years ago here in Spain, I need your help to collect this funds and distribute it yourself to charity homes.  So that when I die my soul will rest in peace. The funds will be entirely in hands and management hope God gives you the wisdom to touch very many lives that is my main concern. 40% of this fund will be for your time and effort, while 60% goes to charity as i directed.  Contact me through this my private email: amani_antonio@hotmail.fr  Remain bless in the Lord. Mrs Amani Antonio </span></div></div>
--0-1640133732-1229074726=:98578--

From Lilalindemma@aol.com  Fri Dec 12 10:46:14 2008
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Attention:Dear,

I have contacted my secretary to confirm if you have received the compensation
draft cheque of ($2.4millon united state dolars. which I issued in your name,
but he told me that he could not send it to you because of the courier charges.
Now I have called my Bank to cancel any payment regards to the draft cheque and
then authorized them to transfer the payment into ATM CARD in your name which
they did.

As of now be informed that I paid all the charges exept the ACTIVATION AND DELIVERY FEE $105 and the ATM CARD is going to be in your name, but to reactivate the ATM Card you have to forward your current informations as requested below to the Bank then they will activate your atm
and send the ATM CARD and send it to you immedaitely .

Here are the informations you have to forward to the bank:

1. YOUR FULL NAMES:______
2. Postal ADDRESS:_______
3. PHONE NUMBER:________
4. EMAIL ADDRESS:____
6. SEX & AGE____
7. OCCUPATION:________
8. COPY OD YOUR ID CARD ________

Contact them with below information ,

Director, ATM Foreign Operati on Dept.
Bank Name:oceanic bank plc
Atm Card's department,
Director:Dr.Raymond Ibru
Phone: + 229 9392 5957
Fax: + 229- 94847211
E-mail: atmservice1968@sify.com
E-mail: oceanicatmdept@hotmail.fr

I HEREBY ISSUED YOU THE CODE OF THEIR CONDUCT, WHICH IS (ATM-0811) SO make
sure you INDICATE THIS CODE WHEN CONTACTING THE ATM CARD CENTER BY USING IT AS
YOUR SUBJECT.

Get back to me once you received the ATM CARD ok.
Thanks and God bless you.

Regards from your bussiness partner
Mr. Derricks Mark Givens .


----------MB_8CB2A5DA97256FA_1368_3132_webmail-db03.sysops.aol.com
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<font face="Arial, Helvetica, sans-serif">Attention:Dear,<br>
<br>
I have contacted my secretary to confirm if you have received the compensation<br>
draft cheque of ($2.4millon united state dolars. which I issued in your name,<br>
but he told me that he could not send it to you because of the courier charges.<br>
Now I have called my Bank to cancel any payment regards to the draft cheque and<br>
then authorized them to transfer the payment into ATM CARD in your name which<br>
they did.<br>
<br>
As of now be informed that I paid all the charges exept the ACTIVATION AND DELIVERY FEE $105 and the ATM CARD is going to be in your name, but to reactivate the ATM Card you have to forward your current informations as requested below to the Bank then they will activate your atm<br>
and send the ATM CARD and send it to you immedaitely .<br>
<br>
Here are the informations you have to forward to the bank:<br>
<br>
1. YOUR FULL NAMES:______<br>
2. Postal ADDRESS:_______<br>
3. PHONE NUMBER:________<br>
4. EMAIL ADDRESS:____<br>
6. SEX &amp; AGE____<br>
7. OCCUPATION:________<br>
8. COPY OD YOUR ID CARD ________<br>
<br>
Contact them with below information ,<br>
<br>
Director, ATM Foreign Operati on Dept.<br>
Bank Name:oceanic bank plc<br>
Atm Card's department,<br>
Director:Dr.Raymond Ibru<br>
Phone: + 229 9392 5957<br>
Fax: + 229- 94847211<br>
E-mail: atmservice1968@sify.com<br>
E-mail: oceanicatmdept@hotmail.fr<br>
<br>
I HEREBY ISSUED YOU THE CODE OF THEIR CONDUCT, WHICH IS (ATM-0811) SO make<br>
sure you INDICATE THIS CODE WHEN CONTACTING THE ATM CARD CENTER BY USING IT AS<br>
YOUR SUBJECT.<br>
<br>
Get back to me once you received the ATM CARD ok.<br>
Thanks and God bless you.<br>
<br>
Regards from your bussiness partner<br>
Mr. Derricks Mark Givens .<br>
<br>
</font><div id='MAILCIADA033-5c6d494240693d9' class='aol_ad_footer'><BR/><FONT style="color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style="MARGIN-TOP: 10px"></HR>Listen to 350+ music, sports, & news radio stations &#150; including songs for the holidays &#150; FREE while you browse. <a href="http://toolbar.aol.com/aolradio/download.html?ncid=emlweusdown00000013">Start Listening Now</a>! </div>

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This is the one year in the past five that I might actually be able to make 
it there, actually.  Got to sell the house first though...

----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 11, 2008 12:26 PM
Subject: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival


> This is a fascinating article about the city that has declared 
> International Live Looping
> Day in the city for the last five straight years and still boasts perhaps 
> the largest
> per capita population of live looping artists of any city on the planet.
>
> I'm proud of this place so I wanted to share it with all of you who have 
> played the
> Y2K festivals in past years or are considering doing so.
> Rick Walker
>
>
>    The Leftmost City: Power & Progressive Politics in Santa Cruz
>
>
>        by G. William Domhoff
>
>
>        December 2008
>
> Santa Cruz, California may be the most politically progressive city in the 
> United States.An unlikely confederation of socialist-feminists, 
> social-welfare liberals, neighborhood activists, and environmentalists has 
> stopped every major development project since 1969 and controlled the city 
> council since 1981. Berkeley, Burlington, Madison, San Francisco, Santa 
> Monica -- none of them had as progressive a government for even half as 
> long.
>
> Since most cities are usually controlled by real estate developers and 
> their buddies, Santa Cruz is a good test case for comparing theories of 
> urban power. Atypical cases are helpful in eliminating theories from 
> consideration if they cannot explain the unexpected events.
>
> That's why Richard Gendron and I wrote /The Leftmost City: Power and 
> Progressive Politics in Santa Cruz/ 
> <http://www.amazon.com/exec/obidos/ASIN/0813344387/adamschneishomep> 
> (Westview Press, 2009). It concludes that the growth coalition theory 
> <http://sociology.ucsc.edu/whorulesamerica/power/local.html> of urban 
> power is the one urban theorists should build on because the basic 
> political conflict in Santa Cruz pitted downtown landowners and real 
> estate developers against neighborhood activists, who unexpectedly 
> triumphed because they had the help of faculty, staff, and students at UC 
> Santa Cruz, the most liberal public university in the country, as well as 
> environmentalists who wanted to protect the beautiful coastline from Santa 
> Cruz to San Francisco. We then point out the weaknesses of the three main 
> alternatives to growth coalition theory: public choice theory, urban 
> Marxist theory, and public choice theory, which are also discussed on this 
> site 
> <http://sociology.ucsc.edu/whorulesamerica/power/rival_urban_theories.html>.
>
> This Web site can be considered a supplement to that book for those who 
> want to know more about the history of the city and the political leaders 
> who have run it. It also provides information on other books and Web sites 
> about Santa Cruz.
>
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/map-california.jpg>
> Map of California
> [enlarge] 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/map-california.jpg>
>
>
>      About Santa Cruz
>
>      Santa Cruz is a picturesque city of 58,000 people on the Pacific
>      coast, 75 miles south of San Francisco. It may not be paradise,
>      but it's a very attractive place to live compared to many American
>      cities. Nestled on a ten-mile strip of coastal shelf land between
>      the heavily forested Santa Cruz Mountains to the north and the
>      shorelines of Monterey Bay to the south, the city has breathtaking
>      vistas
> 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/wharf-bay-monterey.jpg> 
> from
>      both its hillsides and beaches.
>
>      The city enjoys an invigorating climate with moderate temperatures
>      year round: no snow or freezing weather in the winter, and very
>      few days in the summer with high humidity or temperatures above
>      85°F. Most of the rain is in late fall, winter and early spring,
>      leaving many months of the year virtually free of precipitation.
>      The wind can be chilly near the ocean, and the fog a bit
>      depressing when it hangs on late into the day for a week or two,
>      but most days are sunny and clear.
>
>
>      A Brief History of Santa Cruz
>
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/giant_redwood.jpg>
> Logger on old-growth redwood tree, early 1900s
> [enlarge] 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/giant_redwood.jpg>
>
> Thanks to a fast-flowing river and the heavily forested mountainsides, 
> Santa Cruz had a number of natural assets that made it possible for real 
> estate owners in the little central business district to attract 
> capitalists and workers to the area. The river currents were ideal for 
> powering lumber and paper mills, which provided a major boost for a timber 
> industry that was profitable first and foremost because of its giant 
> redwood trees, renowned for their beauty, durability, and resistance to 
> decay and insects. An ample supply of madrone and alder trees, which 
> provided a good base for making explosives, brought a manufacturer of 
> blasting powder and gunpowder to an area in the mountains a few miles 
> northeast of the city.
>
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/lime_kilns.jpg>
> Lime kilns at the Cowell Ranch (now UCSC)
> [enlarge] 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/lime_kilns.jpg>
>
> The abundance of bark from tan-oaks -- a cheap source of the tannic acid 
> necessary for tanning hides -- led to a large tanning industry; by 1870, 
> ten tanneries, making use of hides from the Mission Santa Cruz and the few 
> remaining cattle ranches, supplied half the saddle leather produced in the 
> state. And the limestone in the hills and mountains behind Santa Cruz 
> became valuable because of its role in making plaster and mortar for use 
> in the construction of stone or brick structures, leading to the 
> development of several limestone quarries that by 1880 were supplying more 
> than half of the lime used for construction in the fast-growing cities of 
> San Francisco, Oakland, San Jose, and Sacramento.
>
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/suntan_special.jpg>
> A 1947 "Suntan Special" train arrives from theBay Area
> [enlarge] 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/suntan_special.jpg>
>
> Because of its beachfront setting, Santa Cruz started to be a tourist 
> destination very shortly after California became a state in 1850, and it 
> has long been known for its laid-back atmosphere and beachfront amusement 
> park and boardwalk, complete with an old-fashioned wooden roller 
> coaster -- the Giant Dipper -- that dates back to 1924. Santa Cruz is also 
> renowned as a great place to surf or watch surfing contests, earning it a 
> mention in the Beach Boys' 1963 classic "Surfin' USA."
>
> Santa Cruz became a college town in 1965 with the opening of a new campus 
> of the University of California. The local landowners were overjoyed by 
> winning the competition for the new campus; they envisioned huge growth 
> based on new industries that wanted to be near a university. But no new 
> industries arrived. To their chagrin, however, the campus became a 
> competing power base, with its faculty, staff, and students providing 
> neighborhoods with the added money, expertise, and leadership necessary to 
> reject or control new real estate developments when they impinged on the 
> quality of local life. The campus became even more of a "Trojan horse" 
> after 1971, when the 26th Amendment granted voting privileges to 18- to 
> 20-year-olds and made an already activist student body into an 
> overwhelmingly progressive voting bloc large enough to swing elections in 
> a pro-neighborhood, pro-environment direction when it could be mobilized.
>
> Click here 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/history.html> for a 
> much more detailed history of Santa Cruz and its growth coalition.
>
>
>      The 1989 Loma Prieta Earthquake
>
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/pacific_garden_mall_damage.jpg>
> Damage from the 1989 earthquake
> [enlarge] 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/images/pacific_garden_mall_damage.jpg>
>
> Beyond its atypical power structure, there is another reason why Santa 
> Cruz is an interesting test case: eight years after the progressives 
> finally took control of the city council, they faced an unprecedented 
> challenge when the main business district was almost completely destroyed 
> by a large earthquake that struck the area on October 17, 1989, with its 
> epicenter just 10 miles from Santa Cruz. Three people were killed in the 
> downtown area and nearly half of the downtown buildings had to be torn 
> down, with many others suffering damage that required major repairs. 
> Stunned city residents huddled in grief as they saw the entire downtown 
> core being fenced off.
>
> The downtown businesses that didn't go bankrupt or move elsewhere had to 
> move into large tent-like pavilions that were hastily erected on city 
> parking lots just outside the cordoned-off area. In the process, the quake 
> also put power issues on the table once again. It handed the disheartened 
> business leaders what some of them saw as a golden opportunity to regain 
> their political ascendancy by showing how necessary they were to economic 
> prosperity. For the progressives, the disaster was fraught with political 
> danger: they needed to rebuild the downtown in order to have the tax 
> revenues to continue their ambitious social programs, but they feared and 
> distrusted the downtown land and business owners after almost two decades 
> of bitter political warfare.
>
> After a long political argument between the progressives and the downtown 
> business community (which is discussed in detail in /The Leftmost City/), 
> the city slowly recovered in the late 1990s and now has a new Pacific 
> Avenue that is almost as vibrant as the old Pacific Garden Mall.
>
>
> For a more detailed account of the history of Santa Cruz from a 
> sociological perspective, please read the document entitled "The History 
> of Santa Cruz" 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/history.html>, which 
> leads directly into"Progressive Politics in Santa Cruz" 
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/progressive_politics.html>.
>
>
> <http://sociology.ucsc.edu/whorulesamerica/santacruz/?print>
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 12:40:38 2008
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Subject: Re: Vortex problem
References: <9ab0c76f0812070513r48cbb6e2u5cf19f65d890646f@mail.gmail.com>	 <493C0B48.2080305@tiscali.co.uk>	 <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com>	 <493C3A9D.7030403@tiscali.co.uk> <493EEE1C.3090301@googlemail.com> <9ab0c76f0812091554y5f83dc6fka1ad120b64cc05ae@mail.gmail.com>
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mark francombe schrieb:
> only when I twiddle my knob... (damn that analogy)

Did you follow my advice? Imagine you twiddle and nothing happens after
or happened before? I'd go on strike as well...;-)

Love your machines, they like it...

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

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To: <Loopers-Delight@loopers-delight.com>
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Subject: Live Looping in an ensemble context
Date: Fri, 12 Dec 2008 13:24:07 -0000
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Hello Everyone,

How many of you loop with an ensemble? Could you get in touch with me as I'd 
like to ask you a few questions.

Cheers,

Ricky 

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From: Os <os@collective.co.uk>
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I do

http://www.darkroomtheband.net/
http://www.improvizone.com/


cheers,
os.


2008/12/12 Ricky Graham <rock.guitar.guru@btinternet.com>:
> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with me as I'd
> like to ask you a few questions.
>
> Cheers,
>
> Ricky
>



-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

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Subject: Re: Live Looping in an ensemble context
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me too,
with other loopers on occasion,
and regularly in a non-looping band.


...but Os is more interesting,
afaik he *only* loops with an ensemble

andy butler
ps hope your research is going well



Os wrote:
> I do
> 
> http://www.darkroomtheband.net/
> http://www.improvizone.com/
> 
> 
> cheers,
> os.
> 
> 
> 2008/12/12 Ricky Graham <rock.guitar.guru@btinternet.com>:
>> Hello Everyone,
>>
>> How many of you loop with an ensemble? Could you get in touch with me as I'd
>> like to ask you a few questions.
>>
>> Cheers,
>>
>> Ricky
>>
> 
> 
> 

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Date: Fri, 12 Dec 2008 14:07:52 +0000
From: Os <os@collective.co.uk>
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ha! read as: Os can't actually play an instrument himself

:)

os.


2008/12/12 andy butler <akbutler@tiscali.co.uk>:
> me too,
> with other loopers on occasion,
> and regularly in a non-looping band.
>
>
> ...but Os is more interesting,
> afaik he *only* loops with an ensemble
>
> andy butler
> ps hope your research is going well
>
>
>
> Os wrote:
>>
>> I do
>>
>> http://www.darkroomtheband.net/
>> http://www.improvizone.com/
>>
>>
>> cheers,
>> os.
>>
>>
>> 2008/12/12 Ricky Graham <rock.guitar.guru@btinternet.com>:
>>>
>>> Hello Everyone,
>>>
>>> How many of you loop with an ensemble? Could you get in touch with me as
>>> I'd
>>> like to ask you a few questions.
>>>
>>> Cheers,
>>>
>>> Ricky
>>>
>>
>>
>>
>
>



-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

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From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Live Looping in an ensemble context
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Yep, me too.  I love teaming up with folks to make noise together.
Looped or not looped. Synced or not synced looping. Duo or trio format
has proven optimal for an all looping ensemble, unless you play
composed music.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Fri, Dec 12, 2008 at 2:24 PM, Ricky Graham
<rock.guitar.guru@btinternet.com> wrote:
> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with me as I'd
> like to ask you a few questions.
>
> Cheers,
>
> Ricky
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 14:33:40 2008
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Subject: Re: Live Looping in an ensemble context
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Me, too.

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo


----- Original Message ----- 
From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 12, 2008 2:24 PM
Subject: Live Looping in an ensemble context


> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with me as 
> I'd
> like to ask you a few questions.
>
> Cheers,
>
> Ricky
>
>


--------------------------------------------------------------------------------



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Subject: Re: Live Looping in an ensemble context
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Thanks! I'll forward a question sheet to each of you at the beginning of 
next week. :o)

Thanks for your input,

Ricky

----- Original Message ----- 
From: "eterogeneo" <info@eterogeneo.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 12, 2008 2:33 PM
Subject: Re: Live Looping in an ensemble context


> Me, too.
>
> Fabio
> www.eterogeneo.com
> www.myspace.com/eterogeneo
>
>
> ----- Original Message ----- 
> From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Friday, December 12, 2008 2:24 PM
> Subject: Live Looping in an ensemble context
>
>
>> Hello Everyone,
>>
>> How many of you loop with an ensemble? Could you get in touch with me as 
>> I'd
>> like to ask you a few questions.
>>
>> Cheers,
>>
>> Ricky
>>
>>
>
>
> --------------------------------------------------------------------------------
>
>
>
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> -- 
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In a message dated 12/11/08 10:18:16 PM, ParadoxQuine@gmail.com writes:


> Please do start a house for live looping in SC :P
> 

i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i was just 
visited by a dear old friend from the way back.....we had spent 5 years 
together in a CARMELITE monastery.....we were speaking about the joys of community 
living and how we both missed this way of life.....i had mentioned to mickey 
that the LD community was something that gave me a sense of the "good ol days", 
one for all, all for one!.....so all of these "monastic" thoughts made me 
think, rather than a home for old loopers, we could start a LOOPASTERY, where old 
loopers would be reveared and young loopers would raise food and keep the 
solar panels clean.....in my minds eye, i see, billy bob walker and i being in 
charge of the kitchen because we "clean as we go" an essential of happy food 
prep.....daily musical services, courses on LOOPOLOGY, trying to mend the 
lappy/hardware schism, verily, even attempting to bring peace to the PC/APPLE 
devide.....our work would be long and hard but the rewards of seeing the bright 
unbelieving smiles of both children and crusty ol folk on hearing their first LOOPS 
and indeed, the rapture of creating their very first LOOP.....oh my!.....the 
overwhelming amount of scootola that will be garnished with monster cd sales, 
the funds collected at the NEVER ENDING LOOP CHAPEL, the festivals and shows 
created by our world traveling missionaries (LOOPANARIES).....can you imagine 
the "STUDIO" that would be created.....so many blinky lites, so many boops and 
beeps, the mind boogles.....no more, "DAD! turn that shit down!".....families 
could visit for a fee.....and yes robes! with built in hoodies!.....all made 
from "bucky tube" fiber, of course, so that we can all be walking 
actualizations, both visually and audially of our LOOP ESSENCE.....AND COFFEE, oceans and 
oceans of coffee.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





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In a message dated 12/11/08 10:18:16 PM, ParadoxQuine@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">Please do start a hou=
se for live looping in SC :P<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">i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i was j=
ust visited by a dear old friend from the way back.....we had spent 5 years=20=
together in a CARMELITE monastery.....we were speaking about the joys of com=
munity living and how we both missed this way of life.....i had mentioned to=
 mickey that the LD community was something that gave me a sense of the "goo=
d ol days", one for all, all for one!.....so all of these "monastic" thought=
s made me think, rather than a home for old loopers, we could start a LOOPAS=
TERY, where old loopers would be reveared and young loopers would raise food=
 and keep the solar panels clean.....in my minds eye, i see, billy bob walke=
r and i being in charge of the kitchen because we "clean as we go" an essent=
ial of happy food prep.....daily musical services, courses on LOOPOLOGY, try=
ing to mend the lappy/hardware schism, verily, even attempting to bring peac=
e to the PC/APPLE devide.....our work would be long and hard but the rewards=
 of seeing the bright unbelieving smiles of both children and crusty ol folk=
 on hearing their first LOOPS and indeed, the rapture of creating their very=
 first LOOP.....oh my!.....the overwhelming amount of scootola that will be=20=
garnished with monster cd sales, the funds collected at the NEVER ENDING LOO=
P CHAPEL, the festivals and shows created by our world traveling missionarie=
s (LOOPANARIES).....can you imagine the "STUDIO" that would be created.....s=
o many blinky lites, so many boops and beeps, the mind boogles.....no more,=20=
"DAD! turn that shit down!".....families could visit for a fee.....and yes r=
obes! with built in hoodies!.....all made from "bucky tube" fiber, of course=
, so that we can all be walking actualizations, both visually and audially o=
f our LOOP ESSENCE.....AND COFFEE, oceans and oceans of coffee.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

--part1_c41.4cd2ec61.3673d66b_boundary--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 15:07:41 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Live Looping in an ensemble context
Date: Fri, 12 Dec 2008 07:07:34 -0800
To: Loopers-Delight@loopers-delight.com
X-Mailer: Apple Mail (2.624)
X-Chzlrs: 0
Resent-Message-ID: <35v4HC.A.lT.84nQJB@arsenic>
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Upon occasion . . . when I can find willing victim . . . um=20
participants.

No really I play with folks about as much as I do solo.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")

On Dec 12, 2008, at 5:24 AM, Ricky Graham wrote:

> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with me=20=

> as I'd like to ask you a few questions.
>
> Cheers,
>
> Ricky

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 15:09:19 2008
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From: "eterogeneo" <info@eterogeneo.com>
To: <Loopers-Delight@loopers-delight.com>
References: <c41.4cd2ec61.3673d66b@aol.com>
Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
Date: Fri, 12 Dec 2008 16:09:16 +0100
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I'm still laughing....."Uncle" Micheal..you are great !=20

So...next question is: where can i book a room in the Loopastery ?

Fabio=20
www.eterogeneo.com
www.myspace.com/eterogeneo





----- Original Message -----=20
  From: Nemoguitt@aol.com=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 12, 2008 3:59 PM
  Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping =
Festival



  In a message dated 12/11/08 10:18:16 PM, ParadoxQuine@gmail.com =
writes:



    Please do start a house for live looping in SC :P



  i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i =
was just visited by a dear old friend from the way back.....we had spent =
5 years together in a CARMELITE monastery.....we were speaking about the =
joys of community living and how we both missed this way of life.....i =
had mentioned to mickey that the LD community was something that gave me =
a sense of the "good ol days", one for all, all for one!.....so all of =
these "monastic" thoughts made me think, rather than a home for old =
loopers, we could start a LOOPASTERY, where old loopers would be =
reveared and young loopers would raise food and keep the solar panels =
clean.....in my minds eye, i see, billy bob walker and i being in charge =
of the kitchen because we "clean as we go" an essential of happy food =
prep.....daily musical services, courses on LOOPOLOGY, trying to mend =
the lappy/hardware schism, verily, even attempting to bring peace to the =
PC/APPLE devide.....our work would be long and hard but the rewards of =
seeing the bright unbelieving smiles of both children and crusty ol folk =
on hearing their first LOOPS and indeed, the rapture of creating their =
very first LOOP.....oh my!.....the overwhelming amount of scootola that =
will be garnished with monster cd sales, the funds collected at the =
NEVER ENDING LOOP CHAPEL, the festivals and shows created by our world =
traveling missionaries (LOOPANARIES).....can you imagine the "STUDIO" =
that would be created.....so many blinky lites, so many boops and beeps, =
the mind boogles.....no more, "DAD! turn that shit down!".....families =
could visit for a fee.....and yes robes! with built in hoodies!.....all =
made from "bucky tube" fiber, of course, so that we can all be walking =
actualizations, both visually and audially of our LOOP ESSENCE.....AND =
COFFEE, oceans and oceans of coffee.....:)m

  "EVERYTHING YOU KNOW IS WRONG".....firesign theater

  new groovy tunes at:
  http://www.myspace.com/klobuchar10
  www.ct-collective.com





  **************
  Make your life easier with all your friends, email, and favorite sites =
in one place. Try it now. =
(http://www.aol.com/?optin=3Dnew-dp&icid=3Daolcom40vanity&ncid=3Demlcntao=
lcom00000010)=20


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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.17/1844 - Release Date: =
11/12/2008 20.58

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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 6.00.6000.16735" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>I'm still =
laughing.....</FONT><FONT=20
face=3D"Book Antiqua" color=3D#000080>"Uncle" Micheal..you are great ! =
</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>So...next question is: =
where can i=20
book a room in the Loopastery ?</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Fabio <BR><A=20
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</A><BR><A=20
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</A>=
<BR></FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000080 2px solid; MARGIN-RIGHT: 0px">
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3DNemoguitt@aol.com=20
  href=3D"mailto:Nemoguitt@aol.com">Nemoguitt@aol.com</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> Friday, December 12, 2008 =
3:59=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: OT SANTA CRUZ site =
of the=20
  Y2K9 International Live Looping Festival</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT face=3DGeneva =
color=3D#000000=20
  size=3D2 FAMILY=3D"SANSSERIF"><BR>In a message dated 12/11/08 10:18:16 =
PM, <A=20
  href=3D"mailto:ParadoxQuine@gmail.com">ParadoxQuine@gmail.com</A>=20
  writes:<BR><BR><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  cite=3D"" TYPE=3D"CITE"></FONT><FONT face=3DGeneva color=3D#000000 =
size=3D2=20
    FAMILY=3D"SANSSERIF">Please do start a house for live looping in SC=20
  :P<BR></BLOCKQUOTE></FONT><FONT face=3DGeneva color=3D#000000 size=3D2 =

  FAMILY=3D"SANSSERIF"><BR><BR></FONT><FONT face=3DGeneva =
color=3D#000000 size=3D2=20
  FAMILY=3D"SANSSERIF">i've been reading NEAL STEVENSON'S "ANATHAM", =
very=20
  enjoyable, and i was just visited by a dear old friend from the way=20
  back.....we had spent 5 years together in a CARMELITE monastery.....we =
were=20
  speaking about the joys of community living and how we both missed =
this way of=20
  life.....i had mentioned to mickey that the LD community was something =
that=20
  gave me a sense of the "good ol days", one for all, all for =
one!.....so all of=20
  these "monastic" thoughts made me think, rather than a home for old =
loopers,=20
  we could start a LOOPASTERY, where old loopers would be reveared and =
young=20
  loopers would raise food and keep the solar panels clean.....in my =
minds eye,=20
  i see, billy bob walker and i being in charge of the kitchen because =
we "clean=20
  as we go" an essential of happy food prep.....daily musical services, =
courses=20
  on LOOPOLOGY, trying to mend the lappy/hardware schism, verily, even=20
  attempting to bring peace to the PC/APPLE devide.....our work would be =
long=20
  and hard but the rewards of seeing the bright unbelieving smiles of =
both=20
  children and crusty ol folk on hearing their first LOOPS and indeed, =
the=20
  rapture of creating their very first LOOP.....oh my!.....the =
overwhelming=20
  amount of scootola that will be garnished with monster cd sales, the =
funds=20
  collected at the NEVER ENDING LOOP CHAPEL, the festivals and shows =
created by=20
  our world traveling missionaries (LOOPANARIES).....can you imagine the =

  "STUDIO" that would be created.....so many blinky lites, so many boops =
and=20
  beeps, the mind boogles.....no more, "DAD! turn that shit =
down!".....families=20
  could visit for a fee.....and yes robes! with built in =
hoodies!.....all made=20
  from "bucky tube" fiber, of course, so that we can all be walking=20
  actualizations, both visually and audially of our LOOP ESSENCE.....AND =
COFFEE,=20
  oceans and oceans of coffee.....:)m<BR><BR>"EVERYTHING YOU KNOW IS=20
  WRONG".....firesign theater<BR><BR>new groovy tunes=20
  =
at:<BR>http://www.myspace.com/klobuchar10<BR>www.ct-collective.com<BR><BR=
><BR></FONT><FONT=20
  face=3DGeneva color=3D#000000 size=3D2=20
  FAMILY=3D"SANSSERIF"></FONT><BR><BR><BR>**************<BR>Make your =
life easier=20
  with all your friends, email, and favorite sites in one place. Try it =
now.=20
  =
(http://www.aol.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3D=
emlcntaolcom00000010)=20

  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.17/1844 -=20
  Release Date: 11/12/2008 20.58<BR></BLOCKQUOTE></FONT></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 15:13:33 2008
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Message-ID: <71eda9170812120713w3c94827cpa8a1c80757f4e796@mail.gmail.com>
Date: Fri, 12 Dec 2008 16:13:31 +0100
From: "Giovanni De Sisto" <giovannidesisto@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Boss RC-50. Switcing Patch on stage. Loop End mode. It does notwork!
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Hi Buzap,
I've not yet updated my rc-50... I'm so disappointed too!

My questions are:
why, when i use "immediate" mode to change patch there is not delay time?
why the boss's engineers does not implemented the firmware for "end
loop mode" similar to "immediate" mode (that must wait the phrase
ending)?

I'd think about using a midi sequencer to sinc recording/plaing &
patch switching in immediate mode... but i think it does not work well
due to the bad midi sinc implementation...

I'm still waiting a patch for fix this terrible bug... even boss sell
a pedal with 99 patch... you can use just 3 for time on stage...

Buzap, you wrote about using a rc-20xl between: how?

Thank you for reply!
Giovanni

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 15:13:37 2008
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Date: Fri, 12 Dec 2008 10:13:34 EST
Subject: Re: Live Looping in an ensemble context
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i have done this when allowed.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010)

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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 have done this when allowed.....:)m<B=
R>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

--part1_c5c.401bc5fe.3673d99e_boundary--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 15:40:18 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
Date: Fri, 12 Dec 2008 07:40:12 -0800
To: Loopers-Delight@loopers-delight.com
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My favorite part is the "robes with built in hoodies" and the part =20
about "oceans of coffee."

I'm in.

Can I paint "icons"?

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when =20=

it turns out that God hates all the same people you do."  =97  Anne =20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she =20
attributes this quote to "my priest friend Tom")

On Dec 12, 2008, at 6:59 AM, Nemoguitt@aol.com wrote:

>
>  In a message dated 12/11/08 10:18:16 PM, ParadoxQuine@gmail.com =20
> writes:
>
>
> Please do start a house for live looping in SC :P
>
>
> i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i =20=

> was just visited by a dear old friend from the way back.....we had =20
> spent 5 years together in a CARMELITE monastery.....we were speaking =20=

> about the joys of community living and how we both missed this way of =20=

> life.....i had mentioned to mickey that the LD community was something =
=20
> that gave me a sense of the "good ol days", one for all, all for =20
> one!.....so all of these "monastic" thoughts made me think, rather =20
> than a home for old loopers, we could start a LOOPASTERY, where old =20=

> loopers would be reveared and young loopers would raise food and keep =20=

> the solar panels clean.....in my minds eye, i see, billy bob walker =20=

> and i being in charge of the kitchen because we "clean as we go" an =20=

> essential of happy food prep.....daily musical services, courses on =20=

> LOOPOLOGY, trying to mend the lappy/hardware schism, verily, even =20
> attempting to bring peace to the PC/APPLE devide.....our work would be =
=20
> long and hard but the rewards of seeing the bright unbelieving smiles =20=

> of both children and crusty ol folk on hearing their first LOOPS and =20=

> indeed, the rapture of creating their very first LOOP.....oh =20
> my!.....the overwhelming amount of scootola that will be garnished =20
> with monster cd sales, the funds collected at the NEVER ENDING LOOP =20=

> CHAPEL, the festivals and shows created by our world traveling =20
> missionaries (LOOPANARIES).....can you imagine the "STUDIO" that would =
=20
> be created.....so many blinky lites, so many boops and beeps, the mind =
=20
> boogles.....no more, "DAD! turn that shit down!".....families could =20=

> visit for a fee.....and yes robes! with built in hoodies!.....all made =
=20
> from "bucky tube" fiber, of course, so that we can all be walking =20
> actualizations, both visually and audially of our LOOP ESSENCE.....AND =
=20
> COFFEE, oceans and oceans of coffee.....:)m
>
>  "EVERYTHING YOU KNOW IS WRONG".....firesign theater
>
>  new groovy tunes at:
>  http://www.myspace.com/klobuchar10
>  www.ct-collective.com
>
>
>
>
>
> **************
> Make your life easier with all your friends, email, and favorite sites =
=20
> in one place. Try it now. =20
> (http://www.aol.com/?optin=3Dnew-=20
> dp&icid=3Daolcom40vanity&ncid=3Demlcntaolcom00000010)=

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 16:16:50 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Live Looping in an ensemble context
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If a duo can be called an ensemble, Jim Goodin and I have our 
Chinapainting thing.

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

>> Hello Everyone,
>>
>> How many of you loop with an ensemble? Could you get in touch with me as I'd
>> like to ask you a few questions.
>>
>> Cheers,
>>
>> Ricky
>>
>>     
>
>
>
>   

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 16:39:05 2008
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From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: ANYBODY KNOW ANYTHING ABOUT "BAND CAMP" AS A MUSIC HOSTING SERVICE?
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Anyone know anything about it?

They've only been in business a few months and already have over a thousand=
 bands signed up.

Seattle frettless guitar looper Tom Baker and SoCal singer/songweriter Glen=
 Phillips are both on it (for folks I sortta know).

Anybody here have any thoughts?

Best regards,

tEd =C2=AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e intends to eat until he eats them. =E2=80=93 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 17:09:21 2008
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Thanks! I'll forward a question sheet to each of you at the beginning of
next week. :o)


Ricky


Just recorded my first duo improvisation with another looper and planning
another round soon, this time with a trio. would have been a great tragedy
writing a paper on livelooping without handing in some good solid looping
along with it. Gets pretty wild with another player adding loops ( had a go
at grabbing his loops and doubling his looped loops back into the room to
mess with the room frequencies ala alvin lucier.....im addicted. :)

Interested in the Q's and A's.

Byron



On Fri, Dec 12, 2008 at 6:16 PM, Daryl Shawn <highhorse@mhorse.com> wrote:

> If a duo can be called an ensemble, Jim Goodin and I have our Chinapainting
> thing.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>  Hello Everyone,
>>>
>>> How many of you loop with an ensemble? Could you get in touch with me as
>>> I'd
>>> like to ask you a few questions.
>>>
>>> Cheers,
>>>
>>> Ricky
>>>
>>>
>>>
>>
>>
>>
>>
>>
>
>

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<span class="Apple-style-span" style="border-collapse: collapse; ">Thanks! I&#39;ll forward a question sheet to each of you at the beginning of next week. :o)<br><br><br>Ricky<br></span><br><div><br></div><div>Just recorded my first duo improvisation with another looper and planning another round soon, this time with a trio. would have been a great tragedy writing a paper on livelooping without handing in some good solid looping along with it. Gets pretty wild with another player adding loops ( had a go at grabbing his loops and doubling his looped loops back into the room to mess with the room frequencies ala alvin lucier.....im addicted. :)</div>
<div><br></div><div>Interested in the Q&#39;s and A&#39;s.</div><div><br></div><div>Byron</div><div><br></div><div><br></div><div><br><div class="gmail_quote">On Fri, Dec 12, 2008 at 6:16 PM, Daryl Shawn <span dir="ltr">&lt;<a href="mailto:highhorse@mhorse.com">highhorse@mhorse.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">If a duo can be called an ensemble, Jim Goodin and I have our Chinapainting thing.<br><font color="#888888">
<br>
Daryl Shawn<br>
<a href="http://www.swanwelder.com" target="_blank">www.swanwelder.com</a><br>
<a href="http://www.chinapaintingmusic.com" target="_blank">www.chinapaintingmusic.com</a></font><div><div></div><div class="Wj3C7c"><br>
<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
Hello Everyone,<br>
<br>
How many of you loop with an ensemble? Could you get in touch with me as I&#39;d<br>
like to ask you a few questions.<br>
<br>
Cheers,<br>
<br>
Ricky<br>
<br>
 &nbsp; &nbsp;<br>
</blockquote>
<br>
<br>
<br>
 &nbsp;<br>
</blockquote>
<br>
</div></div></blockquote></div><br></div>

------=_Part_7553_19134135.1229099781077--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 17:34:48 2008
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Date: Fri, 12 Dec 2008 18:30:45 +0100
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To: loopers-delight@loopers-delight.com
Subject: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
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Nick,

have you tried the typical "distributed system diagnostic route"?

Connect something else (another line level sound source) to the inputs
of the Firebox you're using, instead of the KP3, and see how it works.

Connect your KP3's outputs to something else (like your mains), and
see how it works.
Exchange the KP3->Firebox cable with a "known good" one (like the one
you're using to go from the Firebox to the KP3), and see how it works.
Connect the KP3 to inputs 1+2 of the Firebox (do they work with
another source?) and see how it works.

If all of these work ok, report back ;)

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Message-ID: <4759e5740812121021w668d0a0cg3db2ad9023dec1a3@mail.gmail.com>
Date: Fri, 12 Dec 2008 13:21:06 -0500
From: "todd reynolds" <toddreyn@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday Night
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To all my friends on the list...
I had dinner with my friends Amy X Neuberg and Joshua Fried in Brooklyn last
night, and truth is, I'll be out of town by Saturday night, so I have to
miss Amy's show at Roulette!

So I thought I'd ask you guys to go in my stead. I'm not only an Amy X
colleague, but an Amy X Fan... (and you should see on youtube her latest
work with the Cello Chixtet). BUT

The REAL reason I'm writing to the WHOLE list is that Amy let me in on a
little secret.  She's going to actually make a vinyl record onstage, put it
on a second victrola and actually do a little vintage live-looping on
Vinyl.

I thought that I shouldn't let the opportunity pass to let you all know.
 Details below, I wish you well.. And if you go, tell us all about it!

====================
Amy X Neuburg, voice and live electronics
"Old songs, new songs, and new approaches to old technologies"

Saturday December 13, 8:30 PM
ROULETTE
20 Greene St. (between Canal & Grand)
Reservations/tickets: (212) 219-8242
Admission $15 / Students & seniors $10
Venue info at http://www.roulette.org

Advance reservations recommended.




"Also of late I've gotten mixed up with these crazy European dudes who work
with circuit-bending and homemade electronics. So as part of the Roulette
show I'll be introducing my latest work-in-development "The Dude Trilogy"
for voice and Blippoo Box -- a very cute analog synth created for me by
Dutch instrument designer Rob Hordijk and operated using hand motions and a
Theremin-like antenna.

Also your own local anti-folk hero and discarded-technology geek Steve
Espinola will join me for an experiment in live looping using archaic
recording gadgets.

And the rest of the show will consist of my solo classics and a few things
you may not have heard. Roulette is one of my favorite places to play --
great acoustics and always a nice crowd. Please come by and say hello.

Love and xx -- a"

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To all my friends on the list...&nbsp;
<div><br></div><div>I had dinner with my friends Amy X Neuberg and Joshua Fried in Brooklyn last night, and truth is, I&#39;ll be out of town by Saturday night, so I have to miss Amy&#39;s show at Roulette!</div>
<div><br></div><div>So I thought I&#39;d ask you guys to go in my stead. I&#39;m not only an Amy X colleague, but an Amy X Fan... (and you should see on youtube her latest work with the Cello Chixtet). BUT</div><div><br>
</div><div>The REAL reason I&#39;m writing to the WHOLE list is that Amy let me in on a little secret. &nbsp;She&#39;s going to actually make a vinyl record onstage, put it on a second victrola and actually do a little vintage live-looping on Vinyl.&nbsp;</div>

<div><br></div><div>I thought that I shouldn&#39;t let the opportunity pass to let you all know. &nbsp;Details below, I wish you well.. And if you go, tell us all about it!</div><div><br></div><div>
====================</div><div><span class="Apple-style-span" style="border-collapse: collapse; font-size: 18px; "><span class="nfakPe" style="background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: rgb(84, 133, 189); background-position: initial initial; ">Amy</span>&nbsp;<span class="nfakPe" style="background-image: initial; background-repeat: initial; background-attachment: initial; -webkit-background-clip: initial; -webkit-background-origin: initial; background-color: rgb(84, 133, 189); background-position: initial initial; ">X</span>&nbsp;Neuburg, voice and live electronics<br>
&quot;Old songs, new songs, and new approaches to old technologies&quot;<br><br>Saturday December 13, 8:30 PM<br>ROULETTE<br>20 Greene St. (between Canal &amp; Grand)<br>Reservations/tickets: (212) 219-8242<br>Admission $15 / Students &amp; seniors $10<br>
Venue info at&nbsp;<a href="http://www.roulette.org" target="_blank" style="color: rgb(17, 65, 112); ">http://www.roulette.org</a><br><br>Advance reservations recommended.<br><br><br><br><br>&quot;Also of late I&#39;ve gotten mixed up with these crazy European dudes who work with circuit-bending and homemade electronics. So as part of the Roulette show I&#39;ll be introducing my latest work-in-development &quot;The Dude Trilogy&quot; for voice and Blippoo Box -- a very cute analog synth created for me by Dutch instrument designer Rob Hordijk and operated using hand motions and a Theremin-like antenna.<br>
<br><span class="Apple-style-span" style="font-weight: bold;">Also your own local anti-folk hero and discarded-technology geek Steve Espinola will join me for an experiment in live looping using archaic recording gadgets</span>.<br>
<br>And the rest of the show will consist of my solo classics and a few things you may not have heard. Roulette is one of my favorite places to play -- great acoustics and always a nice crowd. Please come by and say hello.<br>
<br>Love and xx -- a&quot;<br></span></div>

------=_Part_130691_25227834.1229106066157--

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Message-ID: <4759e5740812121024hd2a38f6q7d141c4f3b44ef4a@mail.gmail.com>
Date: Fri, 12 Dec 2008 13:24:11 -0500
From: "todd reynolds" <toddreyn@gmail.com>
To: loopers-delight <loopers-delight@loopersdelight.com>
Subject: LiveLooping on Vinyl :: Amy X Neuberg on Saturday night @ Roulette, NYC
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To all my list friends...

I had dinner with my friends Amy X Neuberg and Joshua Fried in Brooklyn las=
t
night.  We exhausted a few beers and a lot of conversation, including some
about Amy's upcoming show. Truth is, I'll be out of town by Saturday night,
so I have to miss Amy's show at Roulette!

So I thought I'd ask you guys to go in my stead. I'm not only an Amy X
colleague, but an Amy X Fan... (and you should see on youtube her latest
work with the Cello Chixtet). BUT

The REAL reason I'm writing to the WHOLE list is that Amy let me in on a
little secret.  She's going to actually make a vinyl record onstage, put it
on a second victrola and actually do a little vintage live-looping on
Vinyl.

I thought that I shouldn't let the opportunity pass to let you all know.
 Details below, I wish you well.. And if you go, tell us all about it!

=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
Amy X Neuburg, voice and live electronics
"Old songs, new songs, and new approaches to old technologies"

Saturday December 13, 8:30 PM
ROULETTE
20 Greene St. (between Canal & Grand)
Reservations/tickets: (212) 219-8242
Admission $15 / Students & seniors $10
Venue info at http://www.roulette.org

Advance reservations recommended.




"Also of late I've gotten mixed up with these crazy European dudes who work
with circuit-bending and homemade electronics. So as part of the Roulette
show I'll be introducing my latest work-in-development "The Dude Trilogy"
for voice and Blippoo Box -- a very cute analog synth created for me by
Dutch instrument designer Rob Hordijk and operated using hand motions and a
Theremin-like antenna.

Also your own local anti-folk hero and discarded-technology geek Steve
Espinola will join me for an experiment in live looping using archaic
recording gadgets.

And the rest of the show will consist of my solo classics and a few things
you may not have heard. Roulette is one of my favorite places to play --
great acoustics and always a nice crowd. Please come by and say hello.

Love and xx -- a"

--=20
=95 In New York now, Dec. 1st through the 5th, planning and scheming.

=95 With Guy Klusevcek at The Japan Society on Dec. 12th

=95 in California, Dec. 14th-26th

------=_Part_130738_1572283.1229106251285
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<span class=3D"Apple-style-span" style=3D"font-size: small;">To all my list=
 friends...</span><div><span class=3D"Apple-style-span" style=3D"font-size:=
 small;"><br></span></div><div><span class=3D"Apple-style-span" style=3D"fo=
nt-size: small;"><br>
</span></div><div><span class=3D"Apple-style-span" style=3D"border-collapse=
: collapse; "><div><span class=3D"Apple-style-span" style=3D"font-size: sma=
ll;">I had dinner with my friends Amy X Neuberg and Joshua Fried in Brookly=
n last night. &nbsp;We exhausted a few beers and a lot of conversation, inc=
luding some about Amy&#39;s upcoming show. Truth is, I&#39;ll be out of tow=
n by Saturday night, so I have to miss Amy&#39;s show at Roulette!</span></=
div>
<div><span class=3D"Apple-style-span" style=3D"font-size: small;"><br></spa=
n></div><div><span class=3D"Apple-style-span" style=3D"font-size: small;">S=
o I thought I&#39;d ask you guys to go in my stead. I&#39;m not only an Amy=
 X colleague, but an Amy X Fan... (and you should see on youtube her latest=
 work with the Cello Chixtet). BUT</span></div>
<div><span class=3D"Apple-style-span" style=3D"font-size: small;"><br></spa=
n></div><div><span class=3D"Apple-style-span" style=3D"font-size: small;">T=
he REAL reason I&#39;m writing to the WHOLE list is that Amy let me in on a=
 little secret. &nbsp;<span class=3D"Apple-style-span" style=3D"font-weight=
: bold;">She&#39;s going to actually make a vinyl record onstage, put it on=
 a second victrola and actually do a little vintage live-looping on Vinyl.&=
nbsp;</span></span></div>
<div><span class=3D"Apple-style-span" style=3D"font-size: small;"><br></spa=
n></div><div><span class=3D"Apple-style-span" style=3D"font-size: small;">I=
 thought that I shouldn&#39;t let the opportunity pass to let you all know.=
 &nbsp;Details below, I wish you well.. And if you go, tell us all about it=
!</span></div>
<div><span class=3D"Apple-style-span" style=3D"font-size: small;"><br></spa=
n></div><div><span class=3D"Apple-style-span" style=3D"font-size: small;">=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</span></div><d=
iv><span style=3D"border-collapse: collapse; "><span style=3D"background-co=
lor: rgb(84, 133, 189); "><span class=3D"Apple-style-span" style=3D"font-si=
ze: small;">Amy</span></span><span class=3D"Apple-style-span" style=3D"font=
-size: small;">&nbsp;</span><span style=3D"background-color: rgb(84, 133, 1=
89); "><span class=3D"Apple-style-span" style=3D"font-size: small;">X</span=
></span><span class=3D"Apple-style-span" style=3D"font-size: small;">&nbsp;=
Neuburg, voice and live electronics<br>
&quot;Old songs, new songs, and new approaches to old technologies&quot;<br=
><br>Saturday December 13, 8:30 PM<br>ROULETTE<br>20 Greene St. (between Ca=
nal &amp; Grand)<br>Reservations/tickets: (212) 219-8242<br>Admission $15 /=
 Students &amp; seniors $10<br>
Venue info at&nbsp;</span><a href=3D"http://www.roulette.org" target=3D"_bl=
ank" style=3D"color: rgb(17, 65, 112); "><span class=3D"Apple-style-span" s=
tyle=3D"font-size: small;">http://www.roulette.org</span></a><span class=3D=
"Apple-style-span" style=3D"font-size: small;"><br>
<br>Advance reservations recommended.<br><br><br><br><br>&quot;Also of late=
 I&#39;ve gotten mixed up with these crazy European dudes who work with cir=
cuit-bending and homemade electronics. So as part of the Roulette show I&#3=
9;ll be introducing my latest work-in-development &quot;The Dude Trilogy&qu=
ot; for voice and Blippoo Box -- a very cute analog synth created for me by=
 Dutch instrument designer Rob Hordijk and operated using hand motions and =
a Theremin-like antenna.<br>
<br></span><span style=3D"font-weight: bold; "><span class=3D"Apple-style-s=
pan" style=3D"font-size: small;">Also your own local anti-folk hero and dis=
carded-technology geek Steve Espinola will join me for an experiment in liv=
e looping using archaic recording gadgets</span></span><span class=3D"Apple=
-style-span" style=3D"font-size: small;">.<br>
<br>And the rest of the show will consist of my solo classics and a few thi=
ngs you may not have heard. Roulette is one of my favorite places to play -=
- great acoustics and always a nice crowd. Please come by and say hello.<br=
>
<br>Love and xx -- a&quot;</span></span></div></span><span class=3D"Apple-s=
tyle-span" style=3D"font-size: small;"><br>-- <br>=95 In New York now, Dec.=
 1st through the 5th, planning and scheming. <br><br>=95 With Guy Klusevcek=
 at The Japan Society on Dec. 12th<br>
<br>=95 in California, Dec. 14th-26th</span><br>
</div>

------=_Part_130738_1572283.1229106251285--

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References: <4759e5740812121021w668d0a0cg3db2ad9023dec1a3@mail.gmail.com>
Subject: Re: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday Night
Date: Fri, 12 Dec 2008 19:28:22 +0100
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It sounds interesting. Kind a DJ-looping ? And the "Blippoo Box" remaind =
me some Laurie Anderson's experiments.
It would be nice to see that show...

Fabio=20
www.eterogeneo.com
www.myspace.com/eterogeneo

  ----- Original Message -----=20
  From: todd reynolds=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 12, 2008 7:21 PM
  Subject: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday =
Night


  To all my friends on the list... =20


  I had dinner with my friends Amy X Neuberg and Joshua Fried in =
Brooklyn last night, and truth is, I'll be out of town by Saturday =
night, so I have to miss Amy's show at Roulette!


  So I thought I'd ask you guys to go in my stead. I'm not only an Amy X =
colleague, but an Amy X Fan... (and you should see on youtube her latest =
work with the Cello Chixtet). BUT


  The REAL reason I'm writing to the WHOLE list is that Amy let me in on =
a little secret.  She's going to actually make a vinyl record onstage, =
put it on a second victrola and actually do a little vintage =
live-looping on Vinyl.=20


  I thought that I shouldn't let the opportunity pass to let you all =
know.  Details below, I wish you well.. And if you go, tell us all about =
it!


  =3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
  Amy X Neuburg, voice and live electronics
  "Old songs, new songs, and new approaches to old technologies"

  Saturday December 13, 8:30 PM
  ROULETTE
  20 Greene St. (between Canal & Grand)
  Reservations/tickets: (212) 219-8242
  Admission $15 / Students & seniors $10
  Venue info at http://www.roulette.org

  Advance reservations recommended.




  "Also of late I've gotten mixed up with these crazy European dudes who =
work with circuit-bending and homemade electronics. So as part of the =
Roulette show I'll be introducing my latest work-in-development "The =
Dude Trilogy" for voice and Blippoo Box -- a very cute analog synth =
created for me by Dutch instrument designer Rob Hordijk and operated =
using hand motions and a Theremin-like antenna.

  Also your own local anti-folk hero and discarded-technology geek Steve =
Espinola will join me for an experiment in live looping using archaic =
recording gadgets.

  And the rest of the show will consist of my solo classics and a few =
things you may not have heard. Roulette is one of my favorite places to =
play -- great acoustics and always a nice crowd. Please come by and say =
hello.

  Love and xx -- a"



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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.17/1845 - Release Date: =
12/12/2008 9.02

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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>It sounds =
interesting.&nbsp;Kind a=20
DJ-looping ?&nbsp;</FONT><FONT face=3D"Book Antiqua" color=3D#000080>And =
the=20
"Blippoo Box" remaind me some Laurie Anderson's =
experiments.</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>It would be nice to see =
that=20
show...</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Fabio <BR><A=20
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</A><BR><A=20
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</A>=
<BR></FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000080 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=3Dtoddreyn@gmail.com href=3D"mailto:toddreyn@gmail.com">todd =
reynolds</A>=20
  </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> Friday, December 12, 2008 =
7:21=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> LiveLooping on vinyl: =
Amy X.=20
  Neuberg in New York Saturday Night</DIV>
  <DIV><BR></DIV>To all my friends on the list...&nbsp;=20
  <DIV><BR></DIV>
  <DIV>I had dinner with my friends Amy X Neuberg and Joshua Fried in =
Brooklyn=20
  last night, and truth is, I'll be out of town by Saturday night, so I =
have to=20
  miss Amy's show at Roulette!</DIV>
  <DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT><BR></DIV>
  <DIV>So I thought I'd ask you guys to go in my stead. I'm not only an =
Amy X=20
  colleague, but an Amy X Fan... (and you should see on youtube her =
latest work=20
  with the Cello Chixtet). BUT</DIV>
  <DIV><BR></DIV>
  <DIV>The REAL reason I'm writing to the WHOLE list is that Amy let me =
in on a=20
  little secret. &nbsp;She's going to actually make a vinyl record =
onstage, put=20
  it on a second victrola and actually do a little vintage live-looping =
on=20
  Vinyl.&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV>I thought that I shouldn't let the opportunity pass to let you =
all know.=20
  &nbsp;Details below, I wish you well.. And if you go, tell us all =
about=20
  it!</DIV>
  <DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT><BR></DIV>
  =
<DIV>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</DIV>
  <DIV><SPAN class=3DApple-style-span=20
  style=3D"FONT-SIZE: 18px; BORDER-COLLAPSE: collapse"><SPAN =
class=3DnfakPe=20
  style=3D"BACKGROUND-COLOR: rgb(84,133,189); -webkit-background-clip: =
initial; -webkit-background-origin: initial">Amy</SPAN>&nbsp;<SPAN=20
  class=3DnfakPe=20
  style=3D"BACKGROUND-COLOR: rgb(84,133,189); -webkit-background-clip: =
initial; -webkit-background-origin: initial">X</SPAN>&nbsp;Neuburg,=20
  voice and live electronics<BR>"Old songs, new songs, and new =
approaches to old=20
  technologies"<BR><BR>Saturday December 13, 8:30 PM<BR>ROULETTE<BR>20 =
Greene=20
  St. (between Canal &amp; Grand)<BR>Reservations/tickets: (212)=20
  219-8242<BR>Admission $15 / Students &amp; seniors $10<BR>Venue info=20
  at&nbsp;<A style=3D"COLOR: rgb(17,65,112)" =
href=3D"http://www.roulette.org"=20
  target=3D_blank>http://www.roulette.org</A><BR><BR>Advance =
reservations=20
  recommended.<BR><BR><BR><BR><BR>"Also of late I've gotten mixed up =
with these=20
  crazy European dudes who work with circuit-bending and homemade =
electronics.=20
  So as part of the Roulette show I'll be introducing my latest=20
  work-in-development "The Dude Trilogy" for voice and Blippoo Box -- a =
very=20
  cute analog synth created for me by Dutch instrument designer Rob =
Hordijk and=20
  operated using hand motions and a Theremin-like antenna.<BR><BR><SPAN=20
  class=3DApple-style-span style=3D"FONT-WEIGHT: bold">Also your own =
local anti-folk=20
  hero and discarded-technology geek Steve Espinola will join me for an=20
  experiment in live looping using archaic recording =
gadgets</SPAN>.<BR><BR>And=20
  the rest of the show will consist of my solo classics and a few things =
you may=20
  not have heard. Roulette is one of my favorite places to play -- great =

  acoustics and always a nice crowd. Please come by and say =
hello.<BR><BR>Love=20
  and xx -- a"<BR></SPAN></DIV>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.17/1845 -=20
  Release Date: 12/12/2008 9.02<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_043B_01C95C8F.CBA9C770--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 18:29:26 2008
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Date: Fri, 12 Dec 2008 12:29:22 -0600
From: Daryl Shawn <highhorse@mhorse.com>
User-Agent: Thunderbird 2.0.0.18 (Windows/20081105)
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To: Loopers-Delight@loopers-delight.com
Subject: Re: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday Night
References: <4759e5740812121021w668d0a0cg3db2ad9023dec1a3@mail.gmail.com>
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She's gonna have a lathe onstage?? OMG!

I love her work, DAMN I wish I could go.

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


> The REAL reason I'm writing to the WHOLE list is that Amy let me in on 
> a little secret.  She's going to actually make a vinyl record onstage, 
> put it on a second victrola and actually do a little vintage 
> live-looping on Vinyl. 
>
> I thought that I shouldn't let the opportunity pass to let you all 
> know.  Details below, I wish you well.. And if you go, tell us all 
> about it!
>
> ====================
> Amy X Neuburg, voice and live electronics
> "Old songs, new songs, and new approaches to old technologies"
>
> Saturday December 13, 8:30 PM
> ROULETTE
> 20 Greene St. (between Canal & Grand)
> Reservations/tickets: (212) 219-8242
> Admission $15 / Students & seniors $10
> Venue info at http://www.roulette.org

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 18:47:00 2008
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Subject: RE: OT SANTA CRUZ site of the Y2K9 International Live Looping
 Festival
Date: Fri, 12 Dec 2008 10:41:58 -0800
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I have tried several times to bring my "looping act" to the zen center wher=
e I practice. My Buddha buddies see amps and strats and stomp boxes and fre=
ak out. I wish I could get them to see just how zen and meditational loopin=
g is.=20
Samadhi for everyone! And coffee. And green tea....
=20
J.D. 'Onryu' Devros
deafrose58illian@charter.net> Subject: Re: OT SANTA CRUZ site of the Y2K9 I=
nternational Live Looping Festival> Date: Fri=2C 12 Dec 2008 07:40:12 -0800=
> To: Loopers-Delight@loopers-delight.com> > My favorite part is the "robes=
 with built in hoodies" and the part > about "oceans of coffee."> > I'm in.=
> > Can I paint "icons"?> > Best regards=2C> > tEd =AE KiLLiAn> > http://ww=
w.myspace.com/tedkillian> http://www.reverbnation.com/tedkillian> http://ww=
w.pfmentum.com/PFMCD007.html> http://www.CDbaby.com/cd/tedkillian> http://w=
ww.guitar9.com/fluxaeterna.html> http://www.indiejazz.com/ProductDetailsVie=
w.aspx?ProductID=3D193> http://guitarplayer.com/article/y2k6-international-=
live/Jun-07/27768> > Ted Killian's "Flux Aeterna" is also available at Appl=
e iTunes> > "You can safely assume that you've created God in your own imag=
e when > it turns out that God hates all the same people you do." =97 Anne =
> Lamott (Traveling Mercies=2C although on page 22 of Bird by Bird she > at=
tributes this quote to "my priest friend Tom")> > On Dec 12=2C 2008=2C at 6=
:59 AM=2C Nemoguitt@aol.com wrote:> > >> > In a message dated 12/11/08 10:1=
8:16 PM=2C ParadoxQuine@gmail.com > > writes:> >> >> > Please do start a ho=
use for live looping in SC :P> >> >> > i've been reading NEAL STEVENSON'S "=
ANATHAM"=2C very enjoyable=2C and i > > was just visited by a dear old frie=
nd from the way back.....we had > > spent 5 years together in a CARMELITE m=
onastery.....we were speaking > > about the joys of community living and ho=
w we both missed this way of > > life.....i had mentioned to mickey that th=
e LD community was something > > that gave me a sense of the "good ol days"=
=2C one for all=2C all for > > one!.....so all of these "monastic" thoughts=
 made me think=2C rather > > than a home for old loopers=2C we could start =
a LOOPASTERY=2C where old > > loopers would be reveared and young loopers w=
ould raise food and keep > > the solar panels clean.....in my minds eye=2C =
i see=2C billy bob walker > > and i being in charge of the kitchen because =
we "clean as we go" an > > essential of happy food prep.....daily musical s=
ervices=2C courses on > > LOOPOLOGY=2C trying to mend the lappy/hardware sc=
hism=2C verily=2C even > > attempting to bring peace to the PC/APPLE devide=
.....our work would be > > long and hard but the rewards of seeing the brig=
ht unbelieving smiles > > of both children and crusty ol folk on hearing th=
eir first LOOPS and > > indeed=2C the rapture of creating their very first =
LOOP.....oh > > my!.....the overwhelming amount of scootola that will be ga=
rnished > > with monster cd sales=2C the funds collected at the NEVER ENDIN=
G LOOP > > CHAPEL=2C the festivals and shows created by our world traveling=
 > > missionaries (LOOPANARIES).....can you imagine the "STUDIO" that would=
 > > be created.....so many blinky lites=2C so many boops and beeps=2C the =
mind > > boogles.....no more=2C "DAD! turn that shit down!".....families co=
uld > > visit for a fee.....and yes robes! with built in hoodies!.....all m=
ade > > from "bucky tube" fiber=2C of course=2C so that we can all be walki=
ng > > actualizations=2C both visually and audially of our LOOP ESSENCE....=
.AND > > COFFEE=2C oceans and oceans of coffee.....:)m> >> > "EVERYTHING YO=
U KNOW IS WRONG".....firesign theater> >> > new groovy tunes at:> > http://=
www.myspace.com/klobuchar10> > www.ct-collective.com> >> >> >> >> >> > ****=
**********> > Make your life easier with all your friends=2C email=2C and f=
avorite sites > > in one place. Try it now. > > (http://www.aol.com/?optin=
=3Dnew- > > dp&icid=3Daolcom40vanity&ncid=3Demlcntaolcom00000010)
_________________________________________________________________
Send e-mail faster without improving your typing skills.
http://windowslive.com/Explore/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_spee=
d_122008=

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<body class=3D'hmmessage'>
I have tried several times to bring my "looping act" to the zen center wher=
e I practice. My Buddha buddies see amps and strats and stomp boxes and fre=
ak out. I wish I could get them to see just how zen and meditational loopin=
g is. <BR>
Samadhi for everyone! And coffee. And green tea....<BR>
&nbsp=3B<BR>
J.D. 'Onryu' Devros<BR>
deafrose58<BR><BR>illian@charter.net<BR>&gt=3B Subject: Re: OT SANTA CRUZ s=
ite of the Y2K9 International Live Looping Festival<BR>&gt=3B Date: Fri=2C =
12 Dec 2008 07:40:12 -0800<BR>&gt=3B To: Loopers-Delight@loopers-delight.co=
m<BR>&gt=3B <BR>&gt=3B My favorite part is the "robes with built in hoodies=
" and the part <BR>&gt=3B about "oceans of coffee."<BR>&gt=3B <BR>&gt=3B I'=
m in.<BR>&gt=3B <BR>&gt=3B Can I paint "icons"?<BR>&gt=3B <BR>&gt=3B Best r=
egards=2C<BR>&gt=3B <BR>&gt=3B tEd =AE KiLLiAn<BR>&gt=3B <BR>&gt=3B http://=
www.myspace.com/tedkillian<BR>&gt=3B http://www.reverbnation.com/tedkillian=
<BR>&gt=3B http://www.pfmentum.com/PFMCD007.html<BR>&gt=3B http://www.CDbab=
y.com/cd/tedkillian<BR>&gt=3B http://www.guitar9.com/fluxaeterna.html<BR>&g=
t=3B http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193<BR>&g=
t=3B http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768<B=
R>&gt=3B <BR>&gt=3B Ted Killian's "Flux Aeterna" is also available at Apple=
 iTunes<BR>&gt=3B <BR>&gt=3B "You can safely assume that you've created God=
 in your own image when <BR>&gt=3B it turns out that God hates all the same=
 people you do." =97 Anne <BR>&gt=3B Lamott (Traveling Mercies=2C although =
on page 22 of Bird by Bird she <BR>&gt=3B attributes this quote to "my prie=
st friend Tom")<BR>&gt=3B <BR>&gt=3B On Dec 12=2C 2008=2C at 6:59 AM=2C Nem=
oguitt@aol.com wrote:<BR>&gt=3B <BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B In a mes=
sage dated 12/11/08 10:18:16 PM=2C ParadoxQuine@gmail.com <BR>&gt=3B &gt=3B=
 writes:<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B Please do start=
 a house for live looping in SC :P<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B<BR>&gt=
=3B &gt=3B i've been reading NEAL STEVENSON'S "ANATHAM"=2C very enjoyable=
=2C and i <BR>&gt=3B &gt=3B was just visited by a dear old friend from the =
way back.....we had <BR>&gt=3B &gt=3B spent 5 years together in a CARMELITE=
 monastery.....we were speaking <BR>&gt=3B &gt=3B about the joys of communi=
ty living and how we both missed this way of <BR>&gt=3B &gt=3B life.....i h=
ad mentioned to mickey that the LD community was something <BR>&gt=3B &gt=
=3B that gave me a sense of the "good ol days"=2C one for all=2C all for <B=
R>&gt=3B &gt=3B one!.....so all of these "monastic" thoughts made me think=
=2C rather <BR>&gt=3B &gt=3B than a home for old loopers=2C we could start =
a LOOPASTERY=2C where old <BR>&gt=3B &gt=3B loopers would be reveared and y=
oung loopers would raise food and keep <BR>&gt=3B &gt=3B the solar panels c=
lean.....in my minds eye=2C i see=2C billy bob walker <BR>&gt=3B &gt=3B and=
 i being in charge of the kitchen because we "clean as we go" an <BR>&gt=3B=
 &gt=3B essential of happy food prep.....daily musical services=2C courses =
on <BR>&gt=3B &gt=3B LOOPOLOGY=2C trying to mend the lappy/hardware schism=
=2C verily=2C even <BR>&gt=3B &gt=3B attempting to bring peace to the PC/AP=
PLE devide.....our work would be <BR>&gt=3B &gt=3B long and hard but the re=
wards of seeing the bright unbelieving smiles <BR>&gt=3B &gt=3B of both chi=
ldren and crusty ol folk on hearing their first LOOPS and <BR>&gt=3B &gt=3B=
 indeed=2C the rapture of creating their very first LOOP.....oh <BR>&gt=3B =
&gt=3B my!.....the overwhelming amount of scootola that will be garnished <=
BR>&gt=3B &gt=3B with monster cd sales=2C the funds collected at the NEVER =
ENDING LOOP <BR>&gt=3B &gt=3B CHAPEL=2C the festivals and shows created by =
our world traveling <BR>&gt=3B &gt=3B missionaries (LOOPANARIES).....can yo=
u imagine the "STUDIO" that would <BR>&gt=3B &gt=3B be created.....so many =
blinky lites=2C so many boops and beeps=2C the mind <BR>&gt=3B &gt=3B boogl=
es.....no more=2C "DAD! turn that shit down!".....families could <BR>&gt=3B=
 &gt=3B visit for a fee.....and yes robes! with built in hoodies!.....all m=
ade <BR>&gt=3B &gt=3B from "bucky tube" fiber=2C of course=2C so that we ca=
n all be walking <BR>&gt=3B &gt=3B actualizations=2C both visually and audi=
ally of our LOOP ESSENCE.....AND <BR>&gt=3B &gt=3B COFFEE=2C oceans and oce=
ans of coffee.....:)m<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B "EVERYTHING YOU KNO=
W IS WRONG".....firesign theater<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B new groo=
vy tunes at:<BR>&gt=3B &gt=3B http://www.myspace.com/klobuchar10<BR>&gt=3B =
&gt=3B www.ct-collective.com<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B<BR>&gt=3B &g=
t=3B<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B **************<BR>&=
gt=3B &gt=3B Make your life easier with all your friends=2C email=2C and fa=
vorite sites <BR>&gt=3B &gt=3B in one place. Try it now. <BR>&gt=3B &gt=3B =
(http://www.aol.com/?optin=3Dnew- <BR>&gt=3B &gt=3B dp&amp=3Bicid=3Daolcom4=
0vanity&amp=3Bncid=3Demlcntaolcom00000010)<BR><BR><br /><hr />Send e-mail f=
aster without improving your typing skills. <a href=3D'http://windowslive.c=
om/Explore/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_speed_122008' target=3D'=
_new'>Get your Hotmail=AE account.</a></body>
</html>=

--_104d45f3-0c80-4bf7-a3ea-2a4f21c90c7a_--

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Message-ID: <f707673a0812121048j3c50a8f0t3f251187b631f4a6@mail.gmail.com>
Date: Fri, 12 Dec 2008 21:48:04 +0300
From: "Jeff Lomas" <jeff.lomas@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
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is there an estimated date for this event?

-J

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 20:35:44 2008
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From: S V G <vsyevolod@yahoo.com>
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     Ricky,

     I do live improvisatory keyboard work with another keyboardist.  Another project with a wind controllerist/thereminist.  Sometimes all three of us get together for wild-assed looping times.

     Stephen




   How many of you loop with an ensemble? Could you get in touch with me as I'd like to ask you a few questions.



      

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 21:27:48 2008
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Date: Fri, 12 Dec 2008 13:27:46 -0800
From: =?utf-8?Q?tEd_=C2=AE_kiLLiAn?= <tedkillian@charter.net>
To: Loopers-Delight@loopers-delight.com
Subject: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR "INSPIRATION"
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I know this thread spent itself out some days ago now.

But I thought I'd share this quote anyway.

I found it on (of all unlikely places) my son's Facebook page listed under =
his "favorite quotes."

And the originator is (of all unlikely people) Calvin Coolidge.

Here goes . . .

Nothing in the world can take the place of persistence. Talent will not; no=
thing is more common than unsuccessful men with talent. Genius will not; un=
rewarded genius is almost a proverb. Education will not; the world is full =
of educated derelicts. Persistence and determination are omnipotent. The sl=
ogan "press on" has solved and always will solve the problems of the human =
race. - Calvin Coolidge

Press on . . .

I find it deeply embarrassing to admit I have fallen into the category of f=
olks who have depended on the former rather than the later too often in lif=
e, and positively galling (personally) to think that my son has seen this (=
in me) and recognized it as a failure as well.

Oh well . . . press on anyway.

Cheers,

tEd =C2=AE kiLLiAn

Man is the only animal that can remain on friendly terms with the victims h=
e intends to eat until he eats them. =E2=80=93 Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

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Message-ID: <4C8154F1E8C343CE9B3397817D7B5969@PCvansimon>
From: "projektGmail" <projekt67@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <9ab0c76f0812070513r48cbb6e2u5cf19f65d890646f@mail.gmail.com>	 <493C0B48.2080305@tiscali.co.uk>	 <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com>	 <493C3A9D.7030403@tiscali.co.uk> <493EEE1C.3090301@googlemail.com> <9ab0c76f0812091554y5f83dc6fka1ad120b64cc05ae@mail.gmail.com> <494258EF.9000607@googlemail.com> <001001c95c5c$e9bc7b00$0501a8c0@STUDIO1>
Subject: Re: Live Looping in an ensemble context
Date: Fri, 12 Dec 2008 22:24:11 +0100
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Hi Ricky,

Projekt67 is a two member band, we are are using three echoplex units.

Two for me (stereo) and one for Erna (voice).

We are looping most of the time.

Simon

www.projekt67.com



--------------------------------------------------
From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
Sent: Friday, December 12, 2008 2:24 PM
To: <Loopers-Delight@loopers-delight.com>
Subject: Live Looping in an ensemble context

> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with me as 
> I'd like to ask you a few questions.
>
> Cheers,
>
> Ricky 

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 21:37:38 2008
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Subject: RE: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
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=20
hmmmm, I seem to remember my first loops we not really so rapturous. =20
=20
Maybe that was because it was in a garage, and not in the Loopastery
under the proper tutelage?
=20
-jas
Albuquerque

=20
=20
=20
----- Original Message -----=20

	From: Nemoguitt@aol.com=20
	To: Loopers-Delight@loopers-delight.com=20
	Sent: Friday, December 12, 2008 3:59 PM
	Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live
Looping Festival
=09
	=20
=09
	 the rapture of creating their very first LOOP.....oh my!.....


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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 6.00.3790.4392" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial color=3D#0000ff=20
size=3D2></FONT>&nbsp;</DIV>
<DIV><SPAN class=3D909113920-12122008></SPAN><FONT face=3DArial><FONT=20
color=3D#0000ff><FONT size=3D2>hmmmm,&nbsp;<SPAN =
class=3D909113920-12122008>I seem to=20
remember</SPAN>&nbsp;my&nbsp;first&nbsp;loops&nbsp;we&nbsp;not&nbsp;reall=
y&nbsp;so&nbsp;rapturous.&nbsp;&nbsp;</FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT color=3D#0000ff><FONT=20
size=3D2></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT><FONT><FONT face=3DArial color=3D#0000ff size=3D2>Maybe<SPAN=20
class=3D909113920-12122008></SPAN>&nbsp;that&nbsp;was&nbsp;because&nbsp;i=
t&nbsp;was&nbsp;in&nbsp;a&nbsp;garage<SPAN=20
class=3D909113920-12122008>,</SPAN>&nbsp;and&nbsp;not&nbsp;<SPAN=20
class=3D909113920-12122008>in </SPAN>the&nbsp;Loopastery<SPAN=20
class=3D909113920-12122008> under the proper=20
tutelage</SPAN>?</FONT></FONT></FONT></DIV>
<DIV><FONT face=3DArial><FONT color=3D#0000ff><FONT=20
size=3D2></FONT></FONT></FONT>&nbsp;</DIV>
<DIV><FONT><FONT><FONT face=3DArial><FONT color=3D#0000ff><FONT =
size=3D2>-<SPAN=20
class=3D909113920-12122008>jas</SPAN></FONT></FONT></FONT></FONT></FONT><=
/DIV>
<DIV><FONT><FONT><FONT face=3DArial><FONT color=3D#0000ff><FONT =
size=3D2><SPAN=20
class=3D909113920-12122008>Albuquerque</SPAN></FONT></FONT></FONT></FONT>=
</FONT></DIV>
<DIV><BR></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000080 2px solid; MARGIN-RIGHT: 0px">
  <DIV=20
  style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>=20
  <A title=3DNemoguitt@aol.com=20
  href=3D"mailto:Nemoguitt@aol.com">Nemoguitt@aol.com</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> Friday, December 12, 2008 =
3:59=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: OT SANTA CRUZ site =
of the=20
  Y2K9 International Live Looping Festival</DIV>
  <DIV><FONT face=3Darial,helvetica><FONT face=3DGeneva color=3D#000000 =
size=3D2=20
  FAMILY=3D"SANSSERIF"><FONT =
color=3D#0000ff></FONT><BR>&nbsp;</DIV></FONT><FONT=20
  face=3DGeneva color=3D#000000 size=3D2 =
FAMILY=3D"SANSSERIF"><BR></FONT><FONT=20
  face=3DGeneva color=3D#000000 size=3D2 FAMILY=3D"SANSSERIF">&nbsp;the =
rapture of=20
  creating their very first LOOP.....oh=20
my!.....</FONT></BLOCKQUOTE></FONT></BODY></HTML>

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Subject: Re: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR "INSPIRATION"
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>You said "I find it deeply embarrassing to admit I have fallen into the 
>category of folks who have depended on the former rather >than the later 
>too often in life"

Guilty of same Ted, however just remember another quote, this one  by Yogi 
Berra "it ain't over till it's over"

"keep on keeping on",
http://tiny.cc/OVdJB

J

----- Original Message ----- 
From: "tEd ® kiLLiAn" <tedkillian@charter.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 12, 2008 4:27 PM
Subject: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR "INSPIRATION"


I know this thread spent itself out some days ago now.

But I thought I'd share this quote anyway.

I found it on (of all unlikely places) my son's Facebook page listed under 
his "favorite quotes."

And the originator is (of all unlikely people) Calvin Coolidge.

Here goes . . .

Nothing in the world can take the place of persistence. Talent will not; 
nothing is more common than unsuccessful men with talent. Genius will not; 
unrewarded genius is almost a proverb. Education will not; the world is full 
of educated derelicts. Persistence and determination are omnipotent. The 
slogan "press on" has solved and always will solve the problems of the human 
race. - Calvin Coolidge

Press on . . .

I find it deeply embarrassing to admit I have fallen into the category of 
folks who have depended on the former rather than the later too often in 
life, and positively galling (personally) to think that my son has seen this 
(in me) and recognized it as a failure as well.

Oh well . . . press on anyway.

Cheers,

tEd ® kiLLiAn

Man is the only animal that can remain on friendly terms with the victims he 
intends to eat until he eats them. – Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes



--------------------------------------------------------------------------------



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Subject: LOOPASTERY      was  OT  Santa Cruz site of y2k9.....
Date: Fri, 12 Dec 2008 13:57:49 -0800
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Michael Klobuchar wrote:

"i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i was just visited by a dear 
old friend from the way back.....we had spent 5 years together in a CARMELITE monastery.....we were 
speaking about the joys of community living and how we both missed this way of life.....i had 
mentioned to mickey that the LD community was something that gave me a sense of the "good ol 
days", one for all, all for one!.....so all of these "monastic" thoughts made me think, rather than a 
home for old loopers, we could start a LOOPASTERY, where old loopers would be reveared and young 
loopers would raise food and keep the solar panels clean.....in my minds eye, i see, billy bob walker 
and i being in charge of the kitchen because we "clean as we go" an essential of happy food 
prep.....daily musical services, courses on LOOPOLOGY, trying to mend the lappy/hardware schism, 
verily, even attempting to bring peace to the PC/APPLE devide.....our work would be long and hard 
but the rewards of seeing the bright unbelieving smiles of both children and crusty ol folk on hearing 
their first LOOPS and indeed, the rapture of creating their very first LOOP.....oh my!.....the 
overwhelming amount of scootola that will be garnished with monster cd sales, the funds collected 
at the NEVER ENDING LOOP CHAPEL, the festivals and shows created by our world traveling 
missionaries (LOOPANARIES).....can you imagine the "STUDIO" that would be created.....so many 
blinky lites, so many boops and beeps, the mind boogles.....no more, "DAD! turn that shit 
down!".....families could visit for a fee.....and yes robes! with built in hoodies!.....all made from 
"bucky tube" fiber, of course, so that we can all be walking actualizations, both visually and audially 
of our LOOP ESSENCE.....AND COFFEE, oceans and oceans of coffee.....:)m"



1st off:   Michael you are a wonderful, demented genius.............I just loved this post.

And it made me think that perhaps I should be installed in the Loopastery Rectory 
trying,   over and over and over  to teach the Rhythm Intensive to rhythmically challenged new bies 
and old-bies,   fueled by the oceans and oceans of coffee...........

Rick Walker

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Date: Fri, 12 Dec 2008 16:05:19 -0600
Subject: Re: Live Looping in an ensemble context
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=0D=0A=0D=0AI do that as well ..... and now I am curious whats on this ques=
tion sheet .....=0D=0A=0D=0A----------------------------------------=0D=0AF=
rom: "Byron Howell" <howell.byron@gmail.com>=0D=0ASent: Friday, December 12=
, 2008 8:09 AM=0D=0ATo: Loopers-Delight@loopers-delight.com=0D=0ASubject: R=
e: Live Looping in an ensemble context =0D=0A=0D=0AThanks! I'll forward a q=
uestion sheet to each of you at the beginning of next week. :o)=0D=0A=0D=0A=
Ricky=0D=0A=0D=0AJust recorded my first duo improvisation with another loop=
er and planning another round soon, this time with a trio. would have been =
a great tragedy writing a paper on livelooping without handing in some good=
 solid looping along with it. Gets pretty wild with another player adding l=
oops ( had a go at grabbing his loops and doubling his looped loops back in=
to the room to mess with the room frequencies ala alvin lucier.....im addic=
ted. :)=0D=0A=0D=0AInterested in the Q's and A's.=0D=0AByron=0D=0A=0D=0AOn =
Fri, Dec 12, 2008 at 6:16 PM, Daryl Shawn <highhorse@mhorse.com> wrote:=0D=
=0A=0D=0AIf a duo can be called an ensemble, Jim Goodin and I have our Chin=
apainting thing.=0D=0A=0D=0ADaryl Shawn=0D=0A=0D=0Awww.swanwelder.com=0D=0A=
=0D=0Awww.chinapaintingmusic.com =0D=0A=0D=0AHello Everyone,=0D=0A=0D=0AHow=
 many of you loop with an ensemble? Could you get in touch with me as I'd=
=0D=0A=0D=0Alike to ask you a few questions.=0D=0A=0D=0ACheers,=0D=0A=0D=0A=
Ricky=0D=0A=0D=0A    =0D=0A=0D=0A  =0D=0A=0D=0A

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<br><br>I do that as well ..... and now I am curious whats on this question=
 sheet .....<br><br><br><br><font face=3D"Tahoma, Arial, Sans-Serif" size=
=3D"2"><hr align=3D"center" size=3D"2" width=3D"100%"><strong>From</strong>=
: "Byron Howell" &lt;howell.byron@gmail.com&gt;<br><strong>Sent</strong>: F=
riday, December 12, 2008 8:09 AM<br><strong>To</strong>: Loopers-Delight@lo=
opers-delight.com<br><strong>Subject</strong>: Re: Live Looping in an ensem=
ble context</font><br><br><span class=3D"Apple-style-span" style=3D"border-=
collapse: collapse;">Thanks! I'll forward a question sheet to each of you a=
t the beginning of next week. :o)<br><br><br>Ricky<br></span><br><div><br><=
/div><div>Just recorded my first duo improvisation with another looper and =
planning another round soon, this time with a trio. would have been a great=
 tragedy writing a paper on livelooping without handing in some good solid =
looping along with it. Gets pretty wild with another player adding loops ( =
had a go at grabbing his loops and doubling his looped loops back into the =
room to mess with the room frequencies ala alvin lucier.....im addicted. :)=
</div>=0D=0A<div><br></div><div>Interested in the Q's and A's.</div><div><b=
r></div><div>Byron</div><div><br></div><div><br></div><div><br><div class=
=3D"gmail_quote">On Fri, Dec 12, 2008 at 6:16 PM, Daryl Shawn <span dir=3D"=
ltr">&lt;<a href=3D"mailto:highhorse@mhorse.com">highhorse@mhorse.com</a>&g=
t;</span> wrote:<br>=0D=0A<blockquote class=3D"gmail_quote" style=3D"border=
-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-lef=
t: 1ex;">If a duo can be called an ensemble, Jim Goodin and I have our Chin=
apainting thing.<br><font color=3D"#888888">=0D=0A<br>=0D=0ADaryl Shawn<br>=
=0D=0A<a href=3D"http://www.swanwelder.com" target=3D"_blank">www.swanwelde=
r.com</a><br>=0D=0A<a href=3D"http://www.chinapaintingmusic.com" target=3D"=
_blank">www.chinapaintingmusic.com</a></font><div><div></div><div class=3D"=
Wj3C7c"><br>=0D=0A<br>=0D=0A<blockquote class=3D"gmail_quote" style=3D"bord=
er-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-l=
eft: 1ex;"><blockquote class=3D"gmail_quote" style=3D"border-left: 1px soli=
d rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">=0D=0A=
Hello Everyone,<br>=0D=0A<br>=0D=0AHow many of you loop with an ensemble? C=
ould you get in touch with me as I'd<br>=0D=0Alike to ask you a few questio=
ns.<br>=0D=0A<br>=0D=0ACheers,<br>=0D=0A<br>=0D=0ARicky<br>=0D=0A<br>=0D=0A=
 &nbsp; &nbsp;<br>=0D=0A</blockquote>=0D=0A<br>=0D=0A<br>=0D=0A<br>=0D=0A &=
nbsp;<br>=0D=0A</blockquote>=0D=0A<br>=0D=0A</div></div></blockquote></div>=
<br></div><br>

------_SmarterMail_NextPart_2574045801232031--


From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 22:42:24 2008
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Date: Fri, 12 Dec 2008 14:42:23 -0800
From: Nick <ParadoxQuine@gmail.com>
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Subject: Re: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
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Rainer,

thanks for the advice. it seems the problem occurs somewhere between
the input into the firebox and ableton live reading the input. as that
is the only program I have that lets me choose the input channels, im
not sure how to determine if the issue is hardware or software. also,
I reinstalled the firmware on the firebox and restarted my imac and no
change.

actually, I just tested the firebox connected to my macbook pro with a
fresh install of ableton and a mic plugged in to input line 3 (where
the pad previously was) and it's still at about 10% input volume.
Unless there's a control for the input volume on the firebox (which I
don't see for the line ins) should I assume the box's inputs are
broken all of a sudden?

is there any way for me to test to see if the box's hardware is broken
for sure, other than the deductive logic I just used to conclude that?

Thanks,
Nick

On Fri, Dec 12, 2008 at 9:30 AM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> Nick,
>
> have you tried the typical "distributed system diagnostic route"?
>
> Connect something else (another line level sound source) to the inputs
> of the Firebox you're using, instead of the KP3, and see how it works.
>
> Connect your KP3's outputs to something else (like your mains), and
> see how it works.
> Exchange the KP3->Firebox cable with a "known good" one (like the one
> you're using to go from the Firebox to the KP3), and see how it works.
> Connect the KP3 to inputs 1+2 of the Firebox (do they work with
> another source?) and see how it works.
>
> If all of these work ok, report back ;)
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 12 23:08:02 2008
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
Date: Fri, 12 Dec 2008 15:07:55 -0800
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On Dec 12, 2008, at 2:42 PM, Nick wrote:

> should I assume the box's inputs are
> broken all of a sudden?
>
> is there any way for me to test to see if the box's hardware is broken
> for sure, other than the deductive logic I just used to conclude that?


Have you tried the DSP mixer?
It might provide a clue as to what is happening.


regards

BobC


http://tinyurl.com/yt8f8j   Flickr set

http://www.youtube.com/tynego

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 01:21:28 2008
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OMG!  I hope I can retire to the Loopastery soon!  What an idea and it took
KLO to think of it!  Cheers to all . . . MnM
 Michael Klobuchar wrote:

"i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i was
> just visited by a dear
> old friend from the way back.....we had spent 5 years together in a
> CARMELITE monastery.....we were speaking about the joys of community living
> and how we both missed this way of life.....i had
> mentioned to mickey that the LD community was something that gave me a
> sense of the "good ol
> days", one for all, all for one!.....so all of these "monastic" thoughts
> made me think, rather than a
> home for old loopers, we could start a LOOPASTERY, where old loopers would
> be reveared . . .

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OMG!&nbsp; I hope I can retire to the Loopastery soon!&nbsp; What an
idea and it took KLO to think of it!&nbsp; Cheers to all . . . MnM<br><span class="gmail_quote"></span>&nbsp;<div>Michael Klobuchar wrote:<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">&quot;i&#39;ve been reading NEAL STEVENSON&#39;S &quot;ANATHAM&quot;, very enjoyable, and i was just visited by a dear<br>

old friend from the way back.....we had spent 5 years together in a
CARMELITE monastery.....we were speaking about the joys of community
living and how we both missed this way of life.....i had<br> mentioned to mickey that the LD community was something that gave me a sense of the &quot;good ol<br> days&quot;, one for all, all for one!.....so all of these &quot;monastic&quot; thoughts made me think, rather than a<br>
 home for old loopers, we could start a LOOPASTERY, where old loopers would be reveared . . .</blockquote></div>

------=_Part_15319_16176394.1229131287240--

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From: "William Walker" <billwalker@baymoon.com>
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References: <c41.4cd2ec61.3673d66b@aol.com>
Subject: RE: OT SANTA CRUZ site of the Y2K9 International Live Looping Festival
Date: Fri, 12 Dec 2008 17:46:54 -0800
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Dude!!!!!!! This is a great idea !!!!!!!!!!!!!!!!!!!!!!!!!!!!I  

I think all it needs is for you to come up with some kind of secret language
that we all have to learn that I think you Scoots with your unique
theological qualifications,  should be in charge of developing.  I imagine
our missionary vehicle as big bio fuel driven bus  with one wall of the buss
that drops down draw bridge like to reveal a stage where the looping takes
place. Sweet, love the robes with hoodies, Its so trendy.

Bill

 

  _____  

From: Nemoguitt@aol.com [mailto:Nemoguitt@aol.com] 
Sent: Friday, December 12, 2008 7:00 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT SANTA CRUZ site of the Y2K9 International Live Looping
Festival

 


In a message dated 12/11/08 10:18:16 PM, ParadoxQuine@gmail.com writes:





Please do start a house for live looping in SC :P



i've been reading NEAL STEVENSON'S "ANATHAM", very enjoyable, and i was just
visited by a dear old friend from the way back.....we had spent 5 years
together in a CARMELITE monastery.....we were speaking about the joys of
community living and how we both missed this way of life.....i had mentioned
to mickey that the LD community was something that gave me a sense of the
"good ol days", one for all, all for one!.....so all of these "monastic"
thoughts made me think, rather than a home for old loopers, we could start a
LOOPASTERY, where old loopers would be reveared and young loopers would
raise food and keep the solar panels clean.....in my minds eye, i see, billy
bob walker and i being in charge of the kitchen because we "clean as we go"
an essential of happy food prep.....daily musical services, courses on
LOOPOLOGY, trying to mend the lappy/hardware schism, verily, even attempting
to bring peace to the PC/APPLE devide.....our work would be long and hard
but the rewards of seeing the bright unbelieving smiles of both children and
crusty ol folk on hearing their first LOOPS and indeed, the rapture of
creating their very first LOOP.....oh my!.....the overwhelming amount of
scootola that will be garnished with monster cd sales, the funds collected
at the NEVER ENDING LOOP CHAPEL, the festivals and shows created by our
world traveling missionaries (LOOPANARIES).....can you imagine the "STUDIO"
that would be created.....so many blinky lites, so many boops and beeps, the
mind boogles.....no more, "DAD! turn that shit down!".....families could
visit for a fee.....and yes robes! with built in hoodies!.....all made from
"bucky tube" fiber, of course, so that we can all be walking actualizations,
both visually and audially of our LOOP ESSENCE.....AND COFFEE, oceans and
oceans of coffee.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and favorite sites in
one place. Try it now.
(http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom00000
010)


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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'>Dude!!!!!!! This is a great idea =
!!!!!!!!!!!!!!!!!!!!!!!!!!!!I
&nbsp;<o:p></o:p></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 think all it needs is for you to =
come up
with some kind of secret language that we all have to learn that I think =
you Scoots
with your unique theological qualifications, &nbsp;should be in charge =
of
developing. &nbsp;I imagine our missionary vehicle as big bio fuel =
driven bus &nbsp;with
one wall of the buss that drops down draw bridge like to reveal a stage =
where
the looping takes place. Sweet, love the robes with hoodies, Its so =
trendy.<o:p></o:p></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'>Bill<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

<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'>
Nemoguitt@aol.com [mailto:Nemoguitt@aol.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Friday, December =
12, 2008
7:00 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 <st1:City =
w:st=3D"on"><st1:place
 w:st=3D"on">SANTA CRUZ</st1:place></st1:City> site of the Y2K9 =
International
Live Looping Festival</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>

<p class=3DMsoNormal><font size=3D2 color=3Dblack face=3DGeneva><span =
style=3D'font-size:
10.0pt;font-family:Geneva;color:black'><br>
In a message dated 12/11/08 10:18:16 PM, ParadoxQuine@gmail.com =
writes:<br>
<br>
<br>
<br>
<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dblack face=3DGeneva =
FAMILY=3DSANSSERIF><span
style=3D'font-size:10.0pt;font-family:Geneva;color:black'>Please do =
start a house
for live looping in SC :P<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dblack face=3DGeneva =
FAMILY=3DSANSSERIF><span
style=3D'font-size:10.0pt;font-family:Geneva;color:black'><br>
<br>
i've been reading NEAL STEVENSON'S &quot;ANATHAM&quot;, very enjoyable, =
and i
was just visited by a dear old friend from the way back.....we had spent =
5
years together in a CARMELITE monastery.....we were speaking about the =
joys of
community living and how we both missed this way of life.....i had =
mentioned to
mickey that the LD community was something that gave me a sense of the
&quot;good ol days&quot;, one for all, all for one!.....so all of these
&quot;monastic&quot; thoughts made me think, rather than a home for old
loopers, we could start a LOOPASTERY, where old loopers would be =
reveared and
young loopers would raise food and keep the solar panels clean.....in my =
minds
eye, i see, billy bob walker and i being in charge of the kitchen =
because we
&quot;clean as we go&quot; an essential of happy food prep.....daily =
musical
services, courses on LOOPOLOGY, trying to mend the lappy/hardware =
schism,
verily, even attempting to bring peace to the PC/APPLE devide.....our =
work
would be long and hard but the rewards of seeing the bright unbelieving =
smiles
of both children and crusty ol folk on hearing their first LOOPS and =
indeed,
the rapture of creating their very first LOOP.....oh my!.....the =
overwhelming
amount of scootola that will be garnished with monster cd sales, the =
funds
collected at the NEVER ENDING LOOP CHAPEL, the festivals and shows =
created by
our world traveling missionaries (LOOPANARIES).....can you imagine the
&quot;STUDIO&quot; that would be created.....so many blinky lites, so =
many
boops and beeps, the mind boogles.....no more, &quot;DAD! turn that shit
down!&quot;.....families could visit for a fee.....and yes robes! with =
built in
hoodies!.....all made from &quot;bucky tube&quot; fiber, of course, so =
that we
can all be walking actualizations, both visually and audially of our =
LOOP
ESSENCE.....AND COFFEE, oceans and oceans of coffee.....:)m<br>
<br>
&quot;EVERYTHING YOU KNOW IS WRONG&quot;.....firesign theater<br>
<br>
new groovy tunes at:<br>
http://www.myspace.com/klobuchar10<br>
www.ct-collective.com<br>
<br>
<br>
</span></font><font face=3DArial FAMILY=3DSANSSERIF><span =
style=3D'font-family:Arial'><br>
<br>
<br>
**************<br>
Make your life easier with all your friends, email, and favorite sites =
in one
place. Try it now.
(http://www.aol.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3D=
emlcntaolcom00000010)<o:p></o:p></span></font></p>

</div>

</body>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 02:29:53 2008
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Subject: Re: Boss RC-50. Switcing Patch on stage. Loop End mode. It does
 notwork!
To: Loopers-Delight@loopers-delight.com
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Hi Giovanni

> I've not yet updated my rc-50... 
Well, try the upgrade and see if it solves the problem.

> why, when i use "immediate" mode to change patch there is not delay time?
Does it really work without delay in immediate mode? That would be surprising.

> I'd think about using a midi sequencer to sinc recording/plaing & patch switching in immediate mode... 
Midi sync as slave is problematic for the RC-50. Try to borrow equipment and test it before you spend  a lot of money.

> I'm still waiting a patch for fix this terrible bug... 
Yes it is a terrible bug for some. But I don't think Boss will change anything.
The only "workaround" is to use the RC-50 in SINGLE MODE (three single loops in sequence). This works excellent.

>you wrote about using a rc-20xl
The RC-20XL as an alternative to the RC-50 (if single loop is enough). From what people told me, the Phrase change should work without hiccups on the RC-20.

All the best!
Buzap

-- 
Sensationsangebot verlängert: GMX FreeDSL - Telefonanschluss + DSL 
für nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=OM.AD.PD003K1308T4569a

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 02:37:24 2008
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From: "Buzap Buzap" <buzap@gmx.net>
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 <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com>	
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Subject: Re: Live Looping in an ensemble context
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I guess a lot of people do...

What I'd be really interested in:

To sync or not to sync...
THAT is the question... ;-)

Buzap
-- 
Sensationsangebot verlängert: GMX FreeDSL - Telefonanschluss + DSL 
für nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=OM.AD.PD003K1308T4569a

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 04:02:24 2008
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From: Teddy Kumpel <teddybut@mac.com>
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Subject: Re: Live Looping in an ensemble context
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I do... in sync, with a click in my ear and the drummers... mostly...
except ambient things, that I do sans click

Teddy
--
PS.
--
http://teddyjam.com
new live recordings, always
--
http://myspace.com/teddykjam
friend me


On Dec 12, 2008, at 8:24 AM, Ricky Graham wrote:

> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with  
> me as I'd like to ask you a few questions.
>
> Cheers,
>
> Ricky



From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 04:34:38 2008
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Great subject!

I allways felt a bit sad that although live looping makes playing solo  
easier, it might also cause people to stay alone.
One of the main reason to build the LOOP delay (which turned into the  
EDP) was the BrotherSync feature.
I did the first session with it in '92 with David Hopkins.
But before I had great times to play with others into the same delay  
machine.
Some of the best recordings are on
http://matthias.grob.org/pMusic/CDsE.htm
The most intense duos have been with percussionists: Giba, Bira,  
David...

The first festival I participated was Loopstock. I looked for someone  
to bring me there and Jon Wagner offered some space in his overloaded  
fantastic old Volvo, next to all his drums. When I heard he was  
druming, I asked to play together, so we met a few days before and  
figured it out and it worked.
And I started this week to edit the video! (learning...)
I will tell you when I upload it.

And at Y2k7 I invited Arild Andersen to play with me - which was a bit  
heavy for me (sync did not work), but still fun!  ;-)

And today I talked with Per and he suggested to bring up this social  
subject more, and I said: can you point me at videos of duo  
recordings, with at least two players using loops most of the time? He  
could not. I met very few
Urban Nature: http://www.youtube.com/watch?v=GaJKp8KvABc
Lur: http://www.youtube.com/watch?v=2ZIc1uPcZUY
Improvizone: http://www.youtube.com/watch?v=8lV3KN5g-fo (special case  
since Os does the looping)
Mich Gerber: http://www.youtube.com/watch?v=bA1srd_bczs (he plays  
professionally with a band, but just him looping)
Rick, Per and Pellef: http://www.youtube.com/watch?v=YAySrzSa7Hg

Yes, to be social here is great, to meet at festivals is even better,  
but the best is to do it together!!

Matthias

On 12 Dec 2008, at 10:24, Ricky Graham wrote:

> Hello Everyone,
>
> How many of you loop with an ensemble? Could you get in touch with  
> me as I'd like to ask you a few questions.
>
> Cheers,
>
> Ricky

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 07:26:10 2008
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Subject: Hints for Sync (still about Live Looping in an ensemble context)
Date: Sat, 13 Dec 2008 04:25:24 -0300
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Can you believe I have 120 drafts of mails I did not send to Loopers- 
Delight, since 2001?
mostly because I wrote them late, did not finish and the thread was  
already passed
or because I was not sure about my writing and wanted to improve it  
"when I have more time"
or because I was blocked and depressive between 2003 and 2007

So I just searched the drafts for "sync" and found 20, of which I try  
to finish some the next days.

for a start:
I wrote this in July 04, mostly about BrotherSync but also interesting  
for non EDP users:

It seems to me that the time for this basic functionality is coming.
Many found ways to play well alone.
Depending on music and instruments involved, it may be interesting to  
use loops with non looping musicians, but it tends to unbalance. I  
feel like driving a car and making a friend run along.
And I feel exhausted, when I join a rhythmic loop and cannot sync to  
it. Its a strong limitation. I can still do some coming and going  
coloration (reduced FB), or non rhythmic atmosphere, or manually  
resync when I am obviously off, but I cannot really support my friends  
rhythm which leaves me sad.
[some friends are going to say now: "but its intersting to hear the  
unsynced loops drift..." Ok, sometimes it is, but not during a whole  
show, not for a public used to straight rhythms!]

So please give me a BrotherSync or at least a MIDI clock when we play,  
its a lot of fun to groove together!
Don't you feel that the loops support you to play solo more relaxedly?  
Similarely, to play in sync makes you relax about keeping the brothers  
tempo.

But I also observed that its not totally easy!
The connection is easy. Also to set the Sync parameter. For EDP  
BrotherSync, you don't even need to care since its default comes right  
for that, out of the box.
But it takes some practice to make it go smoothly. Just like with most  
of the other functions. If you go to the sound check with the manual  
and try for the first time, you may succeed - or feel some confusion  
at the gig :-)

Here some tricks and observations:

- Avoid to start out with very long loops, since its hard for the  
brother to come in and leaves him no freedom to select his loop length  
as any multiple of your basic rhythm. If I want to start with a long  
harmonic turn around, I better just play it live until my percussion  
brother creates the basic loop, so then I can loop my turn as a  
multiple of it. While this, he layers some instruments so by the time  
my harmonies are recorded we are ready to really play :-)

- Remember to Reset when your loop ends (by fading or mute). Otherwise  
you continue to send a useless timing to me. If I dont watch out, I  
screw up a new base because its rounded to a multiple of the obsolete  
beat :-(
I can escape from it by pressing Overdub, but lets try to be  
"polite"  :-)

- Remember to Reset before you start a new base, because if my loop  
stayed longer than yours, your machine thinks that there are syncs  
coming and thus may try to sync to my previous loop.

- Remember that the clock coming from the brother makes your unit  
become aware that it should sync to it. So if you Reset and then  
Record immediately, you dont sync. In LOOP IV, wait for the Overdub  
LED to become yellow. In LOOP III, wait for the first flash of the  
green Sync dot.

- If you do a new Record without Reset, you go on in the old timing.  
If your brother changed timing and you want to sync to that, you need  
to Reset and wait for a clock of his (at Cycle end).

- Functions that change the loop length like UnroundedMultiply (Record- 
Multiply) throw you out of sync permanently. You can only go back to  
sync by resetting.

- Functions that change your StartPoint (HalfSpeed, Reverse,  
StartPoint, Mute-Insert, Mute-Undo, Next without SwitchQuant) only set  
off the StartPoint in relation to the Brother but keep you going at  
the same speed, so you don't drift.
To come back to the original StartPoint, you can use ReAlign (Mute- 
Multiply). Best press it right after your own StartPoint passed (flash  
of the KeyLED in LOOP IV) to make sure that you wait for the brothers  
StartPoint to Retrigger on, and not your own again.

- If you only have one unit and want to get the feel of sync before  
you go to a meeting, practice by syncing to a MIDIclock. Its not quite  
the same, since the Sync parameter has to be IN and the clock comes  
immediately, but still, you see SyncRecord working and can try the  
function of Overdub in Reset.

- In case you want to use the EDP MIDIclock output to control the  
speed of some sequencer or the Repeater, you need to bring the clock  
into a reasonable range, by choosing the 8th/beat (8th/Cycle) that  
fits your loop length. Or maybe easier: Start with a loop length  
around 2-4 sec if you leave 8th/Cycle at the default of 8.
If you sync two EDPs by BrotherSync and use the MIDIclock-Out of one  
of them, the others 8th/Cycle does not matter.

- Unfortunately not all EDPs sync up between each other because Gibson  
kept changing the manufacturing place and staff, and thus the  
tolerances of the main clock crystals. To make sure they sync up on  
sample base, try with a short loop and watch the flashing LEDs. If  
they drift, replace the crystals of the old units by new crystals from  
Andy Ewen. All EDPPlus (black ones) are made by him, so they should  
sync fine.

Matthias

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 09:12:44 2008
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Date: Sat, 13 Dec 2008 04:09:44 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen To The AM/FM Show
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THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, December 13 at 6:00
am (EST/GMT-5:00/ITZ-5:00), less than two hours from now.  I will
continue the special on Sequences 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 to WMUH on-line at http://www.muhlenberg.edu/wmuh and click one
of the LISTEN NOW links at the top right corner of the page or go
directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm
or
http://muhlenberg.edu/wmuh/WMUH.ram

From richael_jst2@yahoo.com  Sat Dec 13 09:31:56 2008
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Date: Sat, 13 Dec 2008 01:26:11 -0800 (PST)
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I have a new email address!You can now email me at: richael_jst2@yahoo.com



- Dearest,I am writing this mail to you with tears and sorrow from my heart. My name is Richael Justin Yac , 24yrs old, female and I held from South Sudan. I am writing this mail to you with tears and sorrow from my heart.  My father Dr. Justin Yac Arop was the former Minister for SPLA Affairs and Special Adviser to President Salva Kiir of South Sudan for Decentralization. My father Dr. Justine Yac and my mother including other top Military officers and top government officials had been on board when the plane crashed on Friday May 02, 2008.You can read more about the crash through the below site http://news.bbc.co.uk/2/hi/africa/7380412.stm After the burial of my father, my uncle conspired and sold my father's properties to one Chinease Expatriate and live nothing for me.  One faithful morning, I opened my father's briefcase and found out the documents which he have deposited huge amount of money in one bank in Burkina Faso with my name as the next of kin. I traveled to Burkina Faso to withdraw the money so that I can start a better life and take care of myself. On my arrival, the Branch manager of the Bank whom I met in person told me that my father's instruction to the bank was the money be release to me only when I am married or present a trustee who will help me and invest the money overseas.I am in search of an honest and reliable person who will help me and stand as my trustee so that I will present him to the Bank for transfer of the money to his bank account overseas. I have chosen to contact you after my prayers and I believe that you will not betray  my trust. But rather take me as your own sister. Though you may wonder why I am so soon revealing myself to you without knowing you, well,  I will say that my mind convinced me that you may be the true person to help me. More so, I will like to disclose much to you if you can help me to relocate to your country because my uncle have threaten to assassinate me. The amount is $14.9Million and I have confirmed from the bank in Burkina Faso. You will also help me to place the money in a more profitable business venture in your Country.However, you will help by recommending a nice University in your country so that I can complete my studies.  It is my intention to compensate you with 10% of the total money for your services and the balance shall be my capital in your establishment. As soon as I receive your interest in helping me, I will put things into action immediately. In the light of the above, I shall appreciate an urgent message indicating your ability and willingness to handle this transaction sincerely. Please do keep this only to your self. I beg you not to disclose it till i come over because I am affraid of my weaked uncle who has threatened to kill me.  Sincerely yours,Richael Justin Yac.


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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>richael_jst2@yahoo.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">Dearest,I am writing this mail to you with tears and sorrow from my heart. My name is Richael Justin Yac , 24yrs old, female and I held from South Sudan. I am writing this mail to you with tears and sorrow from my heart.  My father Dr. Justin Yac Arop was the former Minister for SPLA Affairs and Special Adviser to President Salva Kiir of South Sudan for Decentralization. My father Dr. Justine Yac and my mother including other top Military officers and top government officials had been on board when the plane crashed on Friday May 02, 2008.You can read more about the crash through the below site http://news.bbc.co.uk/2/hi/africa/7380412.stm After the burial of my father, my uncle conspired and sold my father's properties to one Chinease Expatriate and live nothing for me.  One faithful morning, I opened my father's briefcase and found out the documents which he have deposited huge amount of money in one bank in Burkina Faso with my name as the next of kin. I traveled to Burkina Faso to withdraw the money so that I can start a better life and take care of myself. On my arrival, the Branch manager of the Bank whom I met in person told me that my father's instruction to the bank was the money be release to me only when I am married or present a trustee who will help me and invest the money overseas.I am in search of an honest and reliable person who will help me and stand as my trustee so that I will present him to the Bank for transfer of the money to his bank account overseas. I have chosen to contact you after my prayers and I believe that you will not betray  my trust. But rather take me as your own sister. Though you may wonder why I am so soon revealing myself to you without knowing you, well,  I will say that my mind convinced me that you may be the true person to help me. More so, I will like to disclose much to you if you can help me to relocate to your country because my uncle have threaten to assassinate me. The amount is $14.9Million and I have confirmed from the bank in Burkina Faso. You will also help me to place the money in a more profitable business venture in your Country.However, you will help by recommending a nice University in your country so that I can complete my studies.  It is my intention to compensate you with 10% of the total money for your services and the balance shall be my capital in your establishment. As soon as I receive your interest in helping me, I will put things into action immediately. In the light of the above, I shall appreciate an urgent message indicating your ability and willingness to handle this transaction sincerely. Please do keep this only to your self. I beg you not to disclose it till i come over because I am affraid of my weaked uncle who has threatened to kill me.  Sincerely yours,Richael Justin Yac.</span></div></div>
--0-311855538-1229160371=:210--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 11:50:17 2008
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From: "Matthias Grob" <matilists@atarde.com.br>
>
> I allways felt a bit sad that although live looping makes playing solo 
> easier, it might also cause people to stay alone.
> One of the main reason to build the LOOP delay (which turned into the 
> EDP) was the BrotherSync feature.
> I did the first session with it in '92 with David Hopkins.
> But before I had great times to play with others into the same delay 
> machine.
> Some of the best recordings are on
> http://matthias.grob.org/pMusic/CDsE.htm
> The most intense duos have been with percussionists: Giba, Bira,  David...
>
> The first festival I participated was Loopstock. I looked for someone  to 
> bring me there and Jon Wagner offered some space in his overloaded 
> fantastic old Volvo, next to all his drums. When I heard he was  druming, 
> I asked to play together, so we met a few days before and  figured it out 
> and it worked.
> And I started this week to edit the video! (learning...)
> I will tell you when I upload it.
>
> And at Y2k7 I invited Arild Andersen to play with me - which was a bit 
> heavy for me (sync did not work), but still fun!  ;-)
>
> And today I talked with Per and he suggested to bring up this social 
> subject more, and I said: can you point me at videos of duo  recordings, 
> with at least two players using loops most of the time? He  could not. I 
> met very few
> Urban Nature: http://www.youtube.com/watch?v=GaJKp8KvABc
> Lur: http://www.youtube.com/watch?v=2ZIc1uPcZUY
> Improvizone: http://www.youtube.com/watch?v=8lV3KN5g-fo (special case 
> since Os does the looping)
> Mich Gerber: http://www.youtube.com/watch?v=bA1srd_bczs (he plays 
> professionally with a band, but just him looping)
> Rick, Per and Pellef: http://www.youtube.com/watch?v=YAySrzSa7Hg
>
> Yes, to be social here is great, to meet at festivals is even better,  but 
> the best is to do it together!!
>
> Matthias
>
> On 12 Dec 2008, at 10:24, Ricky Graham wrote:
>
>> Hello Everyone,
>>
>> How many of you loop with an ensemble? Could you get in touch with  me as 
>> I'd like to ask you a few questions.
>>
>> Cheers,
>>
>> Ricky

Back in the early 90s I was still conceptualizing or gestating what I wanted 
to happen with the music; I bought my 7.6 Time Machine along with my first 
QuadraVerb from a guy running a Safari Records in Santa Monica... and the 
first configuration was like:

Guitar -----\
Juno-106 --|-- Mixer --> 4-track
PC w MIDI -|
Mics -------/

...with the Time Machine and Quadraverb as Aux I/Os.

So between 1992 and when the first 4-track died in 1997, I would drag all 
this around LA to rather large private parties we were running, and boy was 
setup a pain until I learned how to plan for it... Around midnight we'd 
throw ourselves on the instruments, friends on the Juno, or found 
objects/analog instruments/vocals through the mics.

I'd always be on the Strat with pedals in the beginning.  Round 1999 I added 
a pair of Zoom 2100s for guitar use (thanks to David Myers on this list). 
They saved my cheese one night when the house we played in was completely 
non-grounded, and you know what that does to a DigiTech loop unit...

After the first time in August 1992 I decided to cop the old folk tale and 
name the efforts Stone Soup Project.

It made for a nice environment to do long, conceptual stuff because the 
players were musically adept with similar tastes (Grateful Dead, Fripp/Eno, 
the lot).  I got ahold of an old Yamaha MT4X to remaster all these 
recordings - it's got the same track order, remember? - and will be 
producing a collection of these pieces next year.  If I have the ability to 
make it out there to Santa Cruz I intend to call together surviving 
participants for a new Stone Soup Project, though it'll probably be down in 
LA where most of the folks still live.

Enuf.  Oh, and I posted a new revision of the Kew Water 0.1.4 video, this 
one hopefully with a Surround mix.

SP Goodman
*
http://www.youtube.com/spgoodman
http://www.last.fm/music/Stephen+Goodman




From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 11:59:46 2008
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Subject: Brother and Sister Sync (still about Live Looping in an ensemble context)
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we were talking about ensembles: There was a band called BrotherSync,  
a full EDP band!
Bret was on this list between 1996 and 2002, I dont know what happened  
since.

In september 2002 he said, when Cara Quinn joined the band:

> Now that CQ is recording with us a name change may be required:
> Brother and Sister Sync
> Sibling Sync
> 3 Men and a Goddess
> bret

and I was going to answer, but probably embarrassed to drift... ;-) :

another language limit... I was so proud of the BrotherSync technology  
that does not need master and slave, but the name still seems to  
exclude half of mankind.
There is not enough space for BrotherAndSisterSync on the back - bad  
excuse
Maybe I should have simply called it SisterSync
or NeighborSync
...imagine if the Sync was wireless and you could sync to someone  
living next door
who already synced to someone else in the building
and the ones living in between would listen to that groovy mixture...

Matthias
--Apple-Mail-42--393229520
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<html><head><style type="text/css"><!--
blockquote, dl, ul, ol, li { padding-top: 0 ; padding-bottom: 0 }
 --></style><title>Brother and Sister Sync</title></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">
<blockquote type="cite" cite=""></blockquote><div>we were talking about ensembles: There was a band called BrotherSync, a full EDP band!</div><div>Bret was on this list between 1996 and 2002, I dont know what happened since.&nbsp;</div><div><br></div><div>In september 2002 he said, when Cara Quinn joined the band:</div><br><blockquote type="cite" cite="">Now that CQ is recording with us a name change may be
required:</blockquote>
<blockquote type="cite" cite="">Brother and Sister Sync<br>
Sibling Sync<br>
3 Men and a Goddess<br>
</blockquote>
<blockquote type="cite" cite="">bret</blockquote>
<div><br></div><div>and I was going to answer, but probably embarrassed to drift... ;-) :</div><div><br></div>
<div>another language limit... I was so proud of the BrotherSync
technology that does not need master and slave, but the name still
seems to exclude half of mankind.</div>
<div>There is not enough space for BrotherAndSisterSync on the back -
bad excuse</div>
<div>Maybe I should have simply called it SisterSync</div>
<div>or NeighborSync</div>
<div>...imagine if the Sync was wireless and you could sync to someone
living next door </div>
<div>who already synced to someone else in the building</div>
<div>and the ones living in between would listen to that groovy
mixture...</div>
<div><br></div><div>Matthias</div>


</body></html>
--Apple-Mail-42--393229520--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 12:14:34 2008
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Damn, is it that time of year already??

So who's heading to NAMM in January?

see you there,

Steve

Where to find me on the web -
  _______________________
*********************************
*** www.stevelawson.net - shiny new site
*** www.stevelawson.net/blog - blog
*** www.myspace.com/solobassstevelawson
*** www.reverbnation.com/stevelawson
*** www.twitter.com/solobasssteve
*** http://www.youtube.com/user/StevieSteve46 - loads of new video here!

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<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Damn, is it that time of year already??<br><br>So who's heading to NAMM in January?<br><br>see you there,<br><br>Steve<br><br>Where to find me on the web -<br>&nbsp;_______________________<br>*********************************<br>***&nbsp;<a href="http://www.stevelawson.net/">www.stevelawson.net</a>&nbsp;- shiny new site<br>***&nbsp;<a href="http://www.stevelawson.net/blog">www.stevelawson.net/blog</a>&nbsp;- blog<br>***&nbsp;<a href="http://www.myspace.com/solobassstevelawson">www.myspace.com/solobassstevelawson</a><br>***&nbsp;<a href="http://www.reverbnation.com/stevelawson">www.reverbnation.com/stevelawson</a><br>***&nbsp;<a href="http://www.twitter.com/solobasssteve">www.twitter.com/solobasssteve</a><br>***&nbsp;<a href="http://www.youtube.com/user/StevieSteve46">http://www.youtube.com/user/StevieSteve46</a>&nbsp;- loads of new video here!<br></body></html>
--Apple-Mail-2--392313994--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 12:26:27 2008
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Date: Sat, 13 Dec 2008 13:26:26 +0100
From: "Per Boysen" <perboysen@gmail.com>
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Subject: Re: Brother and Sister Sync (still about Live Looping in an ensemble context)
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On Sat, Dec 13, 2008 at 12:59 PM, Matthias Grob <matilists@atarde.com.br> wrote:

> or NeighborSync
> ...imagine if the Sync was wireless and you could sync to someone living
> next door
> who already synced to someone else in the building
> and the ones living in between would listen to that groovy mixture...
> Matthias


Great joke ;-)   ... but seriously, wouldn't it be technically
possible to create a wireless looper sync bass station? Some thing
that works along your Bother/Sister/Nighbor.... whatever- sync
protocol and provides a house clock by wireless distribution? I'm
seeing all these cool devices around now, like for example Apple's
Airport Bass Station 2. And when my MacBook came with a remote control
that uses Bluetooth, so I can sit in my sofa and pause my video on the
laptop five meters away, or open and close applications. Someone made
the Wii control for Nintendo which seems to work flawlessly.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 12:59:07 2008
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Subject: GIG SPAM    Rick Walker's DAYGLO ORANGE PLASTIC live performance
   Sat Dec 20,  Santa Cruz, California
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DAYGLO ORANGE PLASTIC    live looping performance by Rick Walker

I'll be performing the show that I performed in 8 countries in 
Scandinavia, Northern Europe and the UK
this coming Saturday,  Dec 20th to open up CLOCKWORK at the Seabright 
Bar and Lounge
(529 Seabright, Santa Cruz, California)

I'll play directly at 9 p.m. and then would love it if people would come 
join me for dancing
to Goth/Steampunk and Swirly Industrial directly afterwards.

This will be the first time I have performed the entire Dayglo Orange 
Plastic show in Santa Cruz .
I will only use Dayglo Orange Plastic as a source of sound in an hour 
long show that is very
unusual and, hopefully,  very creative.

I hope you can come down and check it out.

Admission is 5 bucks but you are let in for FREE if you are attired in 
goth/industrial and/or steampunk attire.


Also,  appropos of almost nothing:   
I made a nice poster for this gig if any one is interested in hanging
it in their very own personal Loopastery.

For a free, high quality .pdf printable 11" X 17" version
go here to download:

www.looppool.info/DaygloOrangePlastic

It's important that you use proper capitlization in this URL.

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A tangent to the thread: what is the largest number of people who can log in
and use a ninjam session?

You want live ensemble looping ... *GRIN

Dennis

-- 
http://myspace.com/usrsbin
http://audiozoloft.com
http://usrslashsbin.angrek.com/

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A tangent to the thread: what is the largest number of people who can log in and use a ninjam session?<br><br>You want live ensemble looping ... *GRIN<br><br>Dennis<br><br>-- <br><a href="http://myspace.com/usrsbin">http://myspace.com/usrsbin</a><br>
<a href="http://audiozoloft.com">http://audiozoloft.com</a><br><a href="http://usrslashsbin.angrek.com/">http://usrslashsbin.angrek.com/</a><br>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 13:20:11 2008
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Subject: Re: Live Looping in an ensemble context
Date: Sat, 13 Dec 2008 13:20:25 -0000
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I have frequently done bits of looping in improvising groups, sometimes with 
other people using loops, but usually not. The thought of being synced to 
some one else terrifies me, though. I will have to give it a go one day, 
just for the experience...

What I find challenging sometimes, if I get a loop going in an ensemble, is 
finding a way to get out of the loop. Sometimes there is an opportune moment 
to just stop the loop and launch into something else. On other occasions I 
find myself just fading the loop out, which can feel a bit lame to me, not 
that other musicians I have played with have ever complained. It would be 
interesting to hear how others deal with this.

I fine
----- Original Message ----- 
From: "Buzap Buzap" <buzap@gmx.net>
Subject: Re: Live Looping in an ensemble context


I guess a lot of people do...

What I'd be really interested in:

To sync or not to sync...
THAT is the question... ;-)

Buzap
-- 



From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 15:36:00 2008
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Date: Sat, 13 Dec 2008 10:33:41 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: The AM/FM Show Playlist for December 13, 2008.
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http://soundscapes.us/amfm/playlists/2008/081213.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 #142                December 13, 2008.

On this program, I continued the special on Sequences electronic music
magazine.  Each contemporary issue comes with a CD.  However, the early
isses came with a cassette.  The cassettes from issues one through
thirteen have been remastered and are now available on CDR in plastic
slip covers with artwork and track details.  Details are at:
http://sequencesmagazine.com


Phase I/Space:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
VA [Steve Gougherty] Fire Rock            Sequences No. 4
VA [Tranceport]      Transglobal          Sequences No. 4
VA [Century's End]   interview            Sequences No. 4
Ian Boddy            Slide                Slide (DiN)
Free System Projekt  Narrow Lane Pt II *  Narrow Lane (none)
Max Corbacho         This Luminous Space  BreathStream (ad21)


Phase II/Eclectic:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
John Gregorius       Mercy                Heaven and Earth (Spotted
                                            Peccary)
Jillian Goldin       The Secret Guards    Origins (none)
                       of Kale
Mann Wolf            Lullaby              none (none)
It's Them!           Street Man           none (none)


Phase III/Progressive Rock:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Cornerstone          Welcome To Forever   Once Upon Our Yesterday's
                                            (escapi)
Univers Zero         Carabosse            Univers Zero (Cuneiform)
Edensong             Water Run            The Fruit Fallen (none)
Fireclan             Sudden Mist          Sunrise To Sunset (Noh Poetry)
Oxcart               Inception            The Equation (none)
Oxcart               Equation             The Equation (none)
Presto Ballet        You're Alive         The Lost Art of Time Travel
                                            (ProgRock)


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

On the next show, I will continue the special on the sampler CDRs that
come with each issue of Sequences 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 one of the LISTEN NOW links
at the top right corner of the page or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm or
http://muhlenberg.edu/wmuh/WMUH.ram
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 Dec 13 15:43:51 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
References: <9ab0c76f0812070513r48cbb6e2u5cf19f65d890646f@mail.gmail.com>	 <493C0B48.2080305@tiscali.co.uk>	 <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com>	 <493C3A9D.7030403@tiscali.co.uk> <493EEE1C.3090301@googlemail.com> <9ab0c76f0812091554y5f83dc6fka1ad120b64cc05ae@mail.gmail.com> <494258EF.9000607@googlemail.com> <001001c95c5c$e9bc7b00$0501a8c0@STUDIO1> <D04B2B34-EDA4-4DB8-87E3-9974C969E3C2@atarde.com.br>
Subject: Re: Live Looping in an ensemble context
Date: Sat, 13 Dec 2008 15:43:48 -0000
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Thanks for the links, Matthias. In beginning my research, like you've 
mentioned, I very much thought of looping within a solo performer context. 
Now that i've been made aware of the EDP and it's intention for ensemble 
practice, it has become a core focus of my work and I can foresee that it 
will continue in this manner for quite some time. I have put together a trio 
recently in which each musician is utilising some form of interactive 
technology alongside their acoustic or semi-acoustic instrument. I intend 
for each technological element to communicate in some way with one another. 
I hope the results will be beneficial. I'll keep you posted on that.

Ricky


----- Original Message ----- 
From: "Matthias Grob" <matilists@atarde.com.br>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, December 13, 2008 4:33 AM
Subject: Re: Live Looping in an ensemble context


> Great subject!
>
> I allways felt a bit sad that although live looping makes playing solo 
> easier, it might also cause people to stay alone.
> One of the main reason to build the LOOP delay (which turned into the 
> EDP) was the BrotherSync feature.
> I did the first session with it in '92 with David Hopkins.
> But before I had great times to play with others into the same delay 
> machine.
> Some of the best recordings are on
> http://matthias.grob.org/pMusic/CDsE.htm
> The most intense duos have been with percussionists: Giba, Bira,  David...
>
> The first festival I participated was Loopstock. I looked for someone  to 
> bring me there and Jon Wagner offered some space in his overloaded 
> fantastic old Volvo, next to all his drums. When I heard he was  druming, 
> I asked to play together, so we met a few days before and  figured it out 
> and it worked.
> And I started this week to edit the video! (learning...)
> I will tell you when I upload it.
>
> And at Y2k7 I invited Arild Andersen to play with me - which was a bit 
> heavy for me (sync did not work), but still fun!  ;-)
>
> And today I talked with Per and he suggested to bring up this social 
> subject more, and I said: can you point me at videos of duo  recordings, 
> with at least two players using loops most of the time? He  could not. I 
> met very few
> Urban Nature: http://www.youtube.com/watch?v=GaJKp8KvABc
> Lur: http://www.youtube.com/watch?v=2ZIc1uPcZUY
> Improvizone: http://www.youtube.com/watch?v=8lV3KN5g-fo (special case 
> since Os does the looping)
> Mich Gerber: http://www.youtube.com/watch?v=bA1srd_bczs (he plays 
> professionally with a band, but just him looping)
> Rick, Per and Pellef: http://www.youtube.com/watch?v=YAySrzSa7Hg
>
> Yes, to be social here is great, to meet at festivals is even better,  but 
> the best is to do it together!!
>
> Matthias
>
> On 12 Dec 2008, at 10:24, Ricky Graham wrote:
>
>> Hello Everyone,
>>
>> How many of you loop with an ensemble? Could you get in touch with  me as 
>> I'd like to ask you a few questions.
>>
>> Cheers,
>>
>> Ricky
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.17/1846 - Release 
> Date: 12/12/2008 6:59 PM
>
> 

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 16:58:42 2008
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From: "Bob Amstadt" <bobld@amstadt.com>
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Subject: Re: GIG SPAM    Rick Walker's DAYGLO ORANGE PLASTIC live performance   Sat Dec 20,  Santa Cruz, California
Date: Sat, 13 Dec 2008 08:58:33 -0800
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Argh.  I already promised to play at a party that night.  Rick, really wish 
that I could be there.

Bob Amstadt 

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 17:17:29 2008
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Date: Sat, 13 Dec 2008 19:17:24 +0200
From: "Byron Howell" <howell.byron@gmail.com>
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Subject: Re: Live Looping in an ensemble context
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 I intend for each technological element to communicate in some way with one
another. I hope the results will be beneficial. I'll keep you posted on
that.
 have put together a trio recently in which each musician is utilising some
form of interactive technology alongside their acoustic or semi-acoustic
instrument
Hey Ricky

Please do keep the list posted...on the writing up of the project ,as well
as the music that is. Very interested to see the form that emerges when one
tries to put ones music/ musical concepts in words


For me, it perhaps was detrimental to the thesis.....cybernetic epistemology
centred around circularity and feedbackloop as a model for
consiousness...why? the death  of an academic :)

but i brought it back to the music..
Generate a whole new language it does......describing ones process of
creation or rather of creating. that log of document, the archival of the
processs is what the academics want, i think....makes for good research on
how we work and create and think..
Wht does one mean by "clean" sound or "dirty" or "spacious"
Iteresting because it does link up to that early thread of how to describe
live looping or catagorise it.

Yakady
Byron


but there i go babbling.....





On Sat, Dec 13, 2008 at 5:43 PM, Ricky Graham <
rock.guitar.guru@btinternet.com> wrote:

> Thanks for the links, Matthias. In beginning my research, like you've
> mentioned, I very much thought of looping within a solo performer context.
> Now that i've been made aware of the EDP and it's intention for ensemble
> practice, it has become a core focus of my work and I can foresee that it
> will continue in this manner for quite some time. I have put together a trio
> recently in which each musician is utilising some form of interactive
> technology alongside their acoustic or semi-acoustic instrument. I intend
> for each technological element to communicate in some way with one another.
> I hope the results will be beneficial. I'll keep you posted on that.
>
> Ricky
>
>
> ----- Original Message ----- From: "Matthias Grob" <
> matilists@atarde.com.br>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Saturday, December 13, 2008 4:33 AM
> Subject: Re: Live Looping in an ensemble context
>
>
>  Great subject!
>>
>> I allways felt a bit sad that although live looping makes playing solo
>> easier, it might also cause people to stay alone.
>> One of the main reason to build the LOOP delay (which turned into the EDP)
>> was the BrotherSync feature.
>> I did the first session with it in '92 with David Hopkins.
>> But before I had great times to play with others into the same delay
>> machine.
>> Some of the best recordings are on
>> http://matthias.grob.org/pMusic/CDsE.htm
>> The most intense duos have been with percussionists: Giba, Bira,  David...
>>
>> The first festival I participated was Loopstock. I looked for someone  to
>> bring me there and Jon Wagner offered some space in his overloaded fantastic
>> old Volvo, next to all his drums. When I heard he was  druming, I asked to
>> play together, so we met a few days before and  figured it out and it
>> worked.
>> And I started this week to edit the video! (learning...)
>> I will tell you when I upload it.
>>
>> And at Y2k7 I invited Arild Andersen to play with me - which was a bit
>> heavy for me (sync did not work), but still fun!  ;-)
>>
>> And today I talked with Per and he suggested to bring up this social
>> subject more, and I said: can you point me at videos of duo  recordings,
>> with at least two players using loops most of the time? He  could not. I met
>> very few
>> Urban Nature: http://www.youtube.com/watch?v=GaJKp8KvABc
>> Lur: http://www.youtube.com/watch?v=2ZIc1uPcZUY
>> Improvizone: http://www.youtube.com/watch?v=8lV3KN5g-fo (special case
>> since Os does the looping)
>> Mich Gerber: http://www.youtube.com/watch?v=bA1srd_bczs (he plays
>> professionally with a band, but just him looping)
>> Rick, Per and Pellef: http://www.youtube.com/watch?v=YAySrzSa7Hg
>>
>> Yes, to be social here is great, to meet at festivals is even better,  but
>> the best is to do it together!!
>>
>> Matthias
>>
>> On 12 Dec 2008, at 10:24, Ricky Graham wrote:
>>
>>  Hello Everyone,
>>>
>>> How many of you loop with an ensemble? Could you get in touch with  me as
>>> I'd like to ask you a few questions.
>>>
>>> Cheers,
>>>
>>> Ricky
>>>
>>
>>
>>
>> --
>> No virus found in this incoming message.
>> Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.17/1846 - Release
>> Date: 12/12/2008 6:59 PM
>>
>>
>>
>

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&nbsp;I intend for each technological element to communicate in some way with one another. I hope the results will be beneficial. I&#39;ll keep you posted on that.<br>&nbsp;have put together a trio recently in which each musician is utilising some form of interactive technology alongside their acoustic or semi-acoustic instrument<div>
<br></div><div>Hey Ricky</div><div><br></div><div>Please do keep the list posted...on the writing up of the project ,as well as the music that is. Very interested to see the form that emerges when one tries to put ones music/ musical concepts in words</div>
<div><br></div><div><br></div><div>For me, it perhaps was detrimental to the thesis.....cybernetic epistemology centred around circularity and feedbackloop as a model for consiousness...why? the death &nbsp;of an academic :)&nbsp;</div>
<div><br></div><div>but i brought it back to the music..</div><div>Generate a whole new language it does......describing ones process of creation or rather of creating. that log of document, the archival of the processs is what the academics want, i think....makes for good research on how we work and create and think..</div>
<div>Wht does one mean by &quot;clean&quot; sound or &quot;dirty&quot; or &quot;spacious&quot;</div><div>Iteresting because it does link up to that early thread of how to describe live looping or catagorise it.</div><div>
<br></div><div>Yakady</div><div>Byron</div><div><br></div><div><br></div><div>but there i go babbling.....</div><div><br></div><div><br><div><br></div><div><br></div><div><br><div class="gmail_quote">On Sat, Dec 13, 2008 at 5:43 PM, Ricky Graham <span dir="ltr">&lt;<a href="mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btinternet.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Thanks for the links, Matthias. In beginning my research, like you&#39;ve mentioned, I very much thought of looping within a solo performer context. Now that i&#39;ve been made aware of the EDP and it&#39;s intention for ensemble practice, it has become a core focus of my work and I can foresee that it will continue in this manner for quite some time. I have put together a trio recently in which each musician is utilising some form of interactive technology alongside their acoustic or semi-acoustic instrument. I intend for each technological element to communicate in some way with one another. I hope the results will be beneficial. I&#39;ll keep you posted on that.<br>

<br>
Ricky<br>
<br>
<br>
----- Original Message ----- From: &quot;Matthias Grob&quot; &lt;<a href="mailto:matilists@atarde.com.br" target="_blank">matilists@atarde.com.br</a>&gt;<div class="Ih2E3d"><br>
To: &lt;<a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a>&gt;<br></div>
Sent: Saturday, December 13, 2008 4:33 AM<div class="Ih2E3d"><br>
Subject: Re: Live Looping in an ensemble context<br>
<br>
<br>
</div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex"><div><div></div><div class="Wj3C7c">
Great subject!<br>
<br>
I allways felt a bit sad that although live looping makes playing solo easier, it might also cause people to stay alone.<br>
One of the main reason to build the LOOP delay (which turned into the EDP) was the BrotherSync feature.<br>
I did the first session with it in &#39;92 with David Hopkins.<br>
But before I had great times to play with others into the same delay machine.<br>
Some of the best recordings are on<br>
<a href="http://matthias.grob.org/pMusic/CDsE.htm" target="_blank">http://matthias.grob.org/pMusic/CDsE.htm</a><br>
The most intense duos have been with percussionists: Giba, Bira, &nbsp;David...<br>
<br>
The first festival I participated was Loopstock. I looked for someone &nbsp;to bring me there and Jon Wagner offered some space in his overloaded fantastic old Volvo, next to all his drums. When I heard he was &nbsp;druming, I asked to play together, so we met a few days before and &nbsp;figured it out and it worked.<br>

And I started this week to edit the video! (learning...)<br>
I will tell you when I upload it.<br>
<br>
And at Y2k7 I invited Arild Andersen to play with me - which was a bit heavy for me (sync did not work), but still fun! &nbsp;;-)<br>
<br>
And today I talked with Per and he suggested to bring up this social subject more, and I said: can you point me at videos of duo &nbsp;recordings, with at least two players using loops most of the time? He &nbsp;could not. I met very few<br>

Urban Nature: <a href="http://www.youtube.com/watch?v=GaJKp8KvABc" target="_blank">http://www.youtube.com/watch?v=GaJKp8KvABc</a><br>
Lur: <a href="http://www.youtube.com/watch?v=2ZIc1uPcZUY" target="_blank">http://www.youtube.com/watch?v=2ZIc1uPcZUY</a><br>
Improvizone: <a href="http://www.youtube.com/watch?v=8lV3KN5g-fo" target="_blank">http://www.youtube.com/watch?v=8lV3KN5g-fo</a> (special case since Os does the looping)<br>
Mich Gerber: <a href="http://www.youtube.com/watch?v=bA1srd_bczs" target="_blank">http://www.youtube.com/watch?v=bA1srd_bczs</a> (he plays professionally with a band, but just him looping)<br>
Rick, Per and Pellef: <a href="http://www.youtube.com/watch?v=YAySrzSa7Hg" target="_blank">http://www.youtube.com/watch?v=YAySrzSa7Hg</a><br>
<br>
Yes, to be social here is great, to meet at festivals is even better, &nbsp;but the best is to do it together!!<br>
<br>
Matthias<br>
<br>
On 12 Dec 2008, at 10:24, Ricky Graham wrote:<br>
<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
Hello Everyone,<br>
<br>
How many of you loop with an ensemble? Could you get in touch with &nbsp;me as I&#39;d like to ask you a few questions.<br>
<br>
Cheers,<br>
<br>
Ricky<br>
</blockquote>
<br>
<br>
<br></div></div><div class="Ih2E3d">
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</blockquote>
<br>
</blockquote></div><br></div></div>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 17:34:46 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
References: <9ab0c76f0812070513r48cbb6e2u5cf19f65d890646f@mail.gmail.com> <493C0B48.2080305@tiscali.co.uk> <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com> <493C3A9D.7030403@tiscali.co.uk> <493EEE1C.3090301@googlemail.com> <9ab0c76f0812091554y5f83dc6fka1ad120b64cc05ae@mail.gmail.com> <494258EF.9000607@googlemail.com> <001001c95c5c$e9bc7b00$0501a8c0@STUDIO1> <D04B2B34-EDA4-4DB8-87E3-9974C969E3C2@atarde.com.br> <05fa01c95d39$978f9be0$4201a8c0@Studio> <d23275f20812130917w62f758f1ie6390b391c2c7fdc@mail.gmail.com>
Subject: Re: Live Looping in an ensemble context
Date: Sat, 13 Dec 2008 17:34:42 -0000
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I will of course, Byron. Thank you.

Ricky
  ----- Original Message -----=20
  From: Byron Howell=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, December 13, 2008 5:17 PM
  Subject: Re: Live Looping in an ensemble context


   I intend for each technological element to communicate in some way =
with one another. I hope the results will be beneficial. I'll keep you =
posted on that.
   have put together a trio recently in which each musician is utilising =
some form of interactive technology alongside their acoustic or =
semi-acoustic instrument


  Hey Ricky


  Please do keep the list posted...on the writing up of the project ,as =
well as the music that is. Very interested to see the form that emerges =
when one tries to put ones music/ musical concepts in words




  For me, it perhaps was detrimental to the thesis.....cybernetic =
epistemology centred around circularity and feedbackloop as a model for =
consiousness...why? the death  of an academic :)=20


  but i brought it back to the music..
  Generate a whole new language it does......describing ones process of =
creation or rather of creating. that log of document, the archival of =
the processs is what the academics want, i think....makes for good =
research on how we work and create and think..
  Wht does one mean by "clean" sound or "dirty" or "spacious"
  Iteresting because it does link up to that early thread of how to =
describe live looping or catagorise it.


  Yakady
  Byron




  but there i go babbling.....










  On Sat, Dec 13, 2008 at 5:43 PM, Ricky Graham =
<rock.guitar.guru@btinternet.com> wrote:

    Thanks for the links, Matthias. In beginning my research, like =
you've mentioned, I very much thought of looping within a solo performer =
context. Now that i've been made aware of the EDP and it's intention for =
ensemble practice, it has become a core focus of my work and I can =
foresee that it will continue in this manner for quite some time. I have =
put together a trio recently in which each musician is utilising some =
form of interactive technology alongside their acoustic or semi-acoustic =
instrument. I intend for each technological element to communicate in =
some way with one another. I hope the results will be beneficial. I'll =
keep you posted on that.

    Ricky


    ----- Original Message ----- From: "Matthias Grob" =
<matilists@atarde.com.br>

    To: <Loopers-Delight@loopers-delight.com>

    Sent: Saturday, December 13, 2008 4:33 AM

    Subject: Re: Live Looping in an ensemble context



      Great subject!

      I allways felt a bit sad that although live looping makes playing =
solo easier, it might also cause people to stay alone.
      One of the main reason to build the LOOP delay (which turned into =
the EDP) was the BrotherSync feature.
      I did the first session with it in '92 with David Hopkins.
      But before I had great times to play with others into the same =
delay machine.
      Some of the best recordings are on
      http://matthias.grob.org/pMusic/CDsE.htm
      The most intense duos have been with percussionists: Giba, Bira,  =
David...

      The first festival I participated was Loopstock. I looked for =
someone  to bring me there and Jon Wagner offered some space in his =
overloaded fantastic old Volvo, next to all his drums. When I heard he =
was  druming, I asked to play together, so we met a few days before and  =
figured it out and it worked.
      And I started this week to edit the video! (learning...)
      I will tell you when I upload it.

      And at Y2k7 I invited Arild Andersen to play with me - which was a =
bit heavy for me (sync did not work), but still fun!  ;-)

      And today I talked with Per and he suggested to bring up this =
social subject more, and I said: can you point me at videos of duo  =
recordings, with at least two players using loops most of the time? He  =
could not. I met very few
      Urban Nature: http://www.youtube.com/watch?v=3DGaJKp8KvABc
      Lur: http://www.youtube.com/watch?v=3D2ZIc1uPcZUY
      Improvizone: http://www.youtube.com/watch?v=3D8lV3KN5g-fo (special =
case since Os does the looping)
      Mich Gerber: http://www.youtube.com/watch?v=3DbA1srd_bczs (he =
plays professionally with a band, but just him looping)
      Rick, Per and Pellef: http://www.youtube.com/watch?v=3DYAySrzSa7Hg

      Yes, to be social here is great, to meet at festivals is even =
better,  but the best is to do it together!!

      Matthias

      On 12 Dec 2008, at 10:24, Ricky Graham wrote:


        Hello Everyone,

        How many of you loop with an ensemble? Could you get in touch =
with  me as I'd like to ask you a few questions.

        Cheers,

        Ricky





      --=20
      No virus found in this incoming message.

      Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.17/1846 - =
Release Date: 12/12/2008 6:59 PM









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


  No virus found in this incoming message.
  Checked by AVG.=20
  Version: 7.5.552 / Virus Database: 270.9.17/1846 - Release Date: =
12/12/2008 6:59 PM

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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>
<DIV><FONT face=3DArial size=3D2>I will of course, Byron. Thank =
you.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ricky</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=3Dhowell.byron@gmail.com =
href=3D"mailto:howell.byron@gmail.com">Byron=20
  Howell</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, December 13, =
2008 5:17=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Live Looping in an =
ensemble=20
  context</DIV>
  <DIV><BR></DIV>&nbsp;I intend for each technological element to =
communicate in=20
  some way with one another. I hope the results will be beneficial. I'll =
keep=20
  you posted on that.<BR>&nbsp;have put together a trio recently in =
which each=20
  musician is utilising some form of interactive technology alongside =
their=20
  acoustic or semi-acoustic instrument
  <DIV><BR></DIV>
  <DIV>Hey Ricky</DIV>
  <DIV><BR></DIV>
  <DIV>Please do keep the list posted...on the writing up of the project =
,as=20
  well as the music that is. Very interested to see the form that =
emerges when=20
  one tries to put ones music/ musical concepts in words</DIV>
  <DIV><BR></DIV>
  <DIV><BR></DIV>
  <DIV>For me, it perhaps was detrimental to the thesis.....cybernetic=20
  epistemology centred around circularity and feedbackloop as a model =
for=20
  consiousness...why? the death &nbsp;of an academic :)&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV>but i brought it back to the music..</DIV>
  <DIV>Generate a whole new language it does......describing ones =
process of=20
  creation or rather of creating. that log of document, the archival of =
the=20
  processs is what the academics want, i think....makes for good =
research on how=20
  we work and create and think..</DIV>
  <DIV>Wht does one mean by "clean" sound or "dirty" or "spacious"</DIV>
  <DIV>Iteresting because it does link up to that early thread of how to =

  describe live looping or catagorise it.</DIV>
  <DIV><BR></DIV>
  <DIV>Yakady</DIV>
  <DIV>Byron</DIV>
  <DIV><BR></DIV>
  <DIV><BR></DIV>
  <DIV>but there i go babbling.....</DIV>
  <DIV><BR></DIV>
  <DIV><BR>
  <DIV><BR></DIV>
  <DIV><BR></DIV>
  <DIV><BR>
  <DIV class=3Dgmail_quote>On Sat, Dec 13, 2008 at 5:43 PM, Ricky Graham =
<SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btintern=
et.com</A>&gt;</SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">Thanks=20
    for the links, Matthias. In beginning my research, like you've =
mentioned, I=20
    very much thought of looping within a solo performer context. Now =
that i've=20
    been made aware of the EDP and it's intention for ensemble practice, =
it has=20
    become a core focus of my work and I can foresee that it will =
continue in=20
    this manner for quite some time. I have put together a trio recently =
in=20
    which each musician is utilising some form of interactive technology =

    alongside their acoustic or semi-acoustic instrument. I intend for =
each=20
    technological element to communicate in some way with one another. I =
hope=20
    the results will be beneficial. I'll keep you posted on=20
    that.<BR><BR>Ricky<BR><BR><BR>----- Original Message ----- From: =
"Matthias=20
    Grob" &lt;<A href=3D"mailto:matilists@atarde.com.br"=20
    target=3D_blank>matilists@atarde.com.br</A>&gt;
    <DIV class=3DIh2E3d><BR>To: &lt;<A=20
    href=3D"mailto:Loopers-Delight@loopers-delight.com"=20
    =
target=3D_blank>Loopers-Delight@loopers-delight.com</A>&gt;<BR></DIV>Sent=
:=20
    Saturday, December 13, 2008 4:33 AM
    <DIV class=3DIh2E3d><BR>Subject: Re: Live Looping in an ensemble=20
    context<BR><BR><BR></DIV>
    <BLOCKQUOTE class=3Dgmail_quote=20
    style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
      <DIV>
      <DIV></DIV>
      <DIV class=3DWj3C7c>Great subject!<BR><BR>I allways felt a bit sad =
that=20
      although live looping makes playing solo easier, it might also =
cause=20
      people to stay alone.<BR>One of the main reason to build the LOOP =
delay=20
      (which turned into the EDP) was the BrotherSync feature.<BR>I did =
the=20
      first session with it in '92 with David Hopkins.<BR>But before I =
had great=20
      times to play with others into the same delay machine.<BR>Some of =
the best=20
      recordings are on<BR><A =
href=3D"http://matthias.grob.org/pMusic/CDsE.htm"=20
      =
target=3D_blank>http://matthias.grob.org/pMusic/CDsE.htm</A><BR>The most =

      intense duos have been with percussionists: Giba, Bira,=20
      &nbsp;David...<BR><BR>The first festival I participated was =
Loopstock. I=20
      looked for someone &nbsp;to bring me there and Jon Wagner offered =
some=20
      space in his overloaded fantastic old Volvo, next to all his =
drums. When I=20
      heard he was &nbsp;druming, I asked to play together, so we met a =
few days=20
      before and &nbsp;figured it out and it worked.<BR>And I started =
this week=20
      to edit the video! (learning...)<BR>I will tell you when I upload=20
      it.<BR><BR>And at Y2k7 I invited Arild Andersen to play with me - =
which=20
      was a bit heavy for me (sync did not work), but still fun!=20
      &nbsp;;-)<BR><BR>And today I talked with Per and he suggested to =
bring up=20
      this social subject more, and I said: can you point me at videos =
of duo=20
      &nbsp;recordings, with at least two players using loops most of =
the time?=20
      He &nbsp;could not. I met very few<BR>Urban Nature: <A=20
      href=3D"http://www.youtube.com/watch?v=3DGaJKp8KvABc"=20
      =
target=3D_blank>http://www.youtube.com/watch?v=3DGaJKp8KvABc</A><BR>Lur: =
<A=20
      href=3D"http://www.youtube.com/watch?v=3D2ZIc1uPcZUY"=20
      =
target=3D_blank>http://www.youtube.com/watch?v=3D2ZIc1uPcZUY</A><BR>Impro=
vizone:=20
      <A href=3D"http://www.youtube.com/watch?v=3D8lV3KN5g-fo"=20
      target=3D_blank>http://www.youtube.com/watch?v=3D8lV3KN5g-fo</A> =
(special case=20
      since Os does the looping)<BR>Mich Gerber: <A=20
      href=3D"http://www.youtube.com/watch?v=3DbA1srd_bczs"=20
      target=3D_blank>http://www.youtube.com/watch?v=3DbA1srd_bczs</A> =
(he plays=20
      professionally with a band, but just him looping)<BR>Rick, Per and =
Pellef:=20
      <A href=3D"http://www.youtube.com/watch?v=3DYAySrzSa7Hg"=20
      =
target=3D_blank>http://www.youtube.com/watch?v=3DYAySrzSa7Hg</A><BR><BR>Y=
es,=20
      to be social here is great, to meet at festivals is even better, =
&nbsp;but=20
      the best is to do it together!!<BR><BR>Matthias<BR><BR>On 12 Dec =
2008, at=20
      10:24, Ricky Graham wrote:<BR><BR>
      <BLOCKQUOTE class=3Dgmail_quote=20
      style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; =
BORDER-LEFT: #ccc 1px solid">Hello=20
        Everyone,<BR><BR>How many of you loop with an ensemble? Could =
you get in=20
        touch with &nbsp;me as I'd like to ask you a few=20
        =
questions.<BR><BR>Cheers,<BR><BR>Ricky<BR></BLOCKQUOTE><BR><BR><BR></DIV>=
</DIV>
      <DIV class=3DIh2E3d>-- <BR>No virus found in this incoming=20
      message.<BR></DIV>Checked by AVG. Version: 7.5.552 / Virus =
Database:=20
      270.9.17/1846 - Release Date: 12/12/2008 6:59=20
  PM<BR><BR><BR></BLOCKQUOTE><BR></BLOCKQUOTE></DIV><BR></DIV></DIV>
  <P>
  <HR>

  <P></P>No virus found in this incoming message.<BR>Checked by AVG.=20
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I'll be there, I have a gig  on Friday afternoon at 4 p.m. playing lap steel
at the  Museum of making Music exhibit, I'll also be helping out Bob again
this year at Looperlative, Hope to see you there.

 Bill

 

  _____  

From: Steve Lawson [mailto:steve@steve-lawson.co.uk] 
Sent: Saturday, December 13, 2008 4:15 AM
To: Loop List
Subject: Loopers At NAMM?

 

Damn, is it that time of year already??

So who's heading to NAMM in January?

see you there,

Steve

Where to find me on the web -
 _______________________
*********************************
*** www.stevelawson.net <http://www.stevelawson.net/>  - shiny new site
*** www.stevelawson.net/blog - blog
*** www.myspace.com/solobassstevelawson
*** www.reverbnation.com/stevelawson
*** www.twitter.com/solobasssteve
*** http://www.youtube.com/user/StevieSteve46 - loads of new video here!


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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&#8217;ll be there, I have a =
gig&nbsp; on
Friday afternoon at 4 p.m. playing lap steel at the &nbsp;Museum of =
making
Music exhibit, I&#8217;ll also be helping out Bob again this year at
Looperlative, Hope to see you there.<o:p></o:p></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;Bill<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

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<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'> =
<st1:PersonName
w:st=3D"on">Steve Lawson</st1:PersonName> =
[mailto:steve@steve-lawson.co.uk] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Saturday, December =
13, 2008
4:15 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> Loop List<br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Loopers At =
NAMM?</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>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Damn, is it that time of year already??<br>
<br>
So who's heading to NAMM in January?<br>
<br>
see you there,<br>
<br>
Steve<br>
<br>
Where to find me on the web -<br>
&nbsp;_______________________<br>
*********************************<br>
***&nbsp;<a =
href=3D"http://www.stevelawson.net/">www.stevelawson.net</a>&nbsp;-
shiny new site<br>
***&nbsp;<a =
href=3D"http://www.stevelawson.net/blog">www.stevelawson.net/blog</a>&nbs=
p;-
blog<br>
***&nbsp;<a =
href=3D"http://www.myspace.com/solobassstevelawson">www.myspace.com/solob=
assstevelawson</a><br>
***&nbsp;<a =
href=3D"http://www.reverbnation.com/stevelawson">www.reverbnation.com/ste=
velawson</a><br>
***&nbsp;<a =
href=3D"http://www.twitter.com/solobasssteve">www.twitter.com/solobassste=
ve</a><br>
***&nbsp;<a =
href=3D"http://www.youtube.com/user/StevieSteve46">http://www.youtube.com=
/user/StevieSteve46</a>&nbsp;-
loads of new video here!<o:p></o:p></span></font></p>

</div>

</body>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 17:50:36 2008
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the dell deals seem pretty goodthis is what i have specced:intel core 2 duo=
 2.2ghz /800mhz/2mb FSB3gb shared dual channel DDR at 800mhz300gig SATA har=
d drive 5400rppmnow i have 3 choices for a $75 upgrade - 1) faster CPU - co=
re 2 duo 2.2ghz/1066mhz/3mb FSB2) more RAM - 4 GIG3) faster hard drive - 25=
0GB SATA hard drive 7200 RPMin your opinion=2C what would be the most benef=
icial upgrade for reducing latency?  thanksFrom: rock.guitar.guru@btinterne=
t.comTo: Loopers-Delight@loopers-delight.comSubject: Re: Live Looping in an=
 ensemble contextDate: Sat=2C 13 Dec 2008 17:34:42 +0000








I will of course=2C Byron. Thank you.
=20
Ricky

  ----- Original Message -----=20
  From:=20
  Byron=20
  Howell=20
  To: Loopers-Delight@loopers-delight.com=20
 =20
  Sent: Saturday=2C December 13=2C 2008 5:17=20
  PM
  Subject: Re: Live Looping in an ensemble=20
  context
   I intend for each technological element to communicate in=20
  some way with one another. I hope the results will be beneficial. I'll ke=
ep=20
  you posted on that. have put together a trio recently in which each=20
  musician is utilising some form of interactive technology alongside their=
=20
  acoustic or semi-acoustic instrument
 =20
  Hey Ricky
 =20
  Please do keep the list posted...on the writing up of the project =2Cas=20
  well as the music that is. Very interested to see the form that emerges w=
hen=20
  one tries to put ones music/ musical concepts in words
 =20
 =20
  For me=2C it perhaps was detrimental to the thesis.....cybernetic=20
  epistemology centred around circularity and feedbackloop as a model for=20
  consiousness...why? the death  of an academic :)=20
 =20
  but i brought it back to the music..
  Generate a whole new language it does......describing ones process of=20
  creation or rather of creating. that log of document=2C the archival of t=
he=20
  processs is what the academics want=2C i think....makes for good research=
 on how=20
  we work and create and think..
  Wht does one mean by "clean" sound or "dirty" or "spacious"
  Iteresting because it does link up to that early thread of how to=20
  describe live looping or catagorise it.
 =20
  Yakady
  Byron
 =20
 =20
  but there i go babbling.....
 =20
 =20
 =20
 =20
 =20
  On Sat=2C Dec 13=2C 2008 at 5:43 PM=2C Ricky Graham <rock.guitar.guru@bti=
nternet.com>=20
  wrote:
  Thanks=20
    for the links=2C Matthias. In beginning my research=2C like you've ment=
ioned=2C I=20
    very much thought of looping within a solo performer context. Now that =
i've=20
    been made aware of the EDP and it's intention for ensemble practice=2C =
it has=20
    become a core focus of my work and I can foresee that it will continue =
in=20
    this manner for quite some time. I have put together a trio recently in=
=20
    which each musician is utilising some form of interactive technology=20
    alongside their acoustic or semi-acoustic instrument. I intend for each=
=20
    technological element to communicate in some way with one another. I ho=
pe=20
    the results will be beneficial. I'll keep you posted on=20
    that.Ricky----- Original Message ----- From: "Matthias=20
    Grob" <matilists@atarde.com.br>
    To: <Loopers-Delight@loopers-delight.com>Sent:=20
    Saturday=2C December 13=2C 2008 4:33 AM
    Subject: Re: Live Looping in an ensemble=20
    context
   =20
     =20
     =20
      Great subject!I allways felt a bit sad that=20
      although live looping makes playing solo easier=2C it might also caus=
e=20
      people to stay alone.One of the main reason to build the LOOP delay=20
      (which turned into the EDP) was the BrotherSync feature.I did the=20
      first session with it in '92 with David Hopkins.But before I had grea=
t=20
      times to play with others into the same delay machine.Some of the bes=
t=20
      recordings are onhttp://matthias.grob.org/pMusic/CDsE.htmThe most=20
      intense duos have been with percussionists: Giba=2C Bira=2C=20
       David...The first festival I participated was Loopstock. I=20
      looked for someone  to bring me there and Jon Wagner offered some=20
      space in his overloaded fantastic old Volvo=2C next to all his drums.=
 When I=20
      heard he was  druming=2C I asked to play together=2C so we met a few =
days=20
      before and  figured it out and it worked.And I started this week=20
      to edit the video! (learning...)I will tell you when I upload=20
      it.And at Y2k7 I invited Arild Andersen to play with me - which=20
      was a bit heavy for me (sync did not work)=2C but still fun!=20
       =3B-)And today I talked with Per and he suggested to bring up=20
      this social subject more=2C and I said: can you point me at videos of=
 duo=20
       recordings=2C with at least two players using loops most of the time=
?=20
      He  could not. I met very fewUrban Nature: http://www.youtube.com/wat=
ch?v=3DGaJKp8KvABcLur: http://www.youtube.com/watch?v=3D2ZIc1uPcZUYImproviz=
one:=20
      http://www.youtube.com/watch?v=3D8lV3KN5g-fo (special case=20
      since Os does the looping)Mich Gerber: http://www.youtube.com/watch?v=
=3DbA1srd_bczs (he plays=20
      professionally with a band=2C but just him looping)Rick=2C Per and Pe=
llef:=20
      http://www.youtube.com/watch?v=3DYAySrzSa7HgYes=2C=20
      to be social here is great=2C to meet at festivals is even better=2C =
 but=20
      the best is to do it together!!MatthiasOn 12 Dec 2008=2C at=20
      10:24=2C Ricky Graham wrote:
      Hello=20
        Everyone=2CHow many of you loop with an ensemble? Could you get in=
=20
        touch with  me as I'd like to ask you a few=20
        questions.Cheers=2CRicky
      -- No virus found in this incoming=20
      message.Checked by AVG. Version: 7.5.552 / Virus Database:=20
      270.9.17/1846 - Release Date: 12/12/2008 6:59=20
  PM
 =20
 =20

  No virus found in this incoming message.Checked by AVG.=20
  Version: 7.5.552 / Virus Database: 270.9.17/1846 - Release Date:=20
  12/12/2008 6:59 PM
_________________________________________________________________
You live life online. So we put Windows on the web.=20
http://clk.atdmt.com/MRT/go/127032869/direct/01/=

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<body class=3D'hmmessage'>
<br><br><span class=3D"Apple-style-span" style=3D"font-family: 'Segoe UI'=
=3B font-size: 11px=3B ">the dell deals seem pretty good<div><br></div><div=
>this is what i have specced:</div><div><br></div><div>intel core 2 duo 2.2=
ghz /800mhz/2mb FSB</div><div>3gb shared dual channel DDR at 800mhz</div><d=
iv>300gig SATA hard drive 5400rppm</div><div><br></div><div>now i have 3 ch=
oices for a $75 upgrade -=A0</div><div>1) faster CPU - core 2 duo 2.2ghz/10=
66mhz/3mb FSB</div><div>2) more RAM - 4 GIG</div><div>3) faster hard drive =
- 250GB SATA hard drive 7200 RPM</div><div><br></div><div>in your opinion=
=2C what would be the most beneficial upgrade for reducing latency?=A0</div=
><div>=A0</div><div><br></div><div>thanks</div><div></div></span><hr id=3D"=
stopSpelling">From: rock.guitar.guru@btinternet.com<br>To: Loopers-Delight@=
loopers-delight.com<br>Subject: Re: Live Looping in an ensemble context<br>=
Date: Sat=2C 13 Dec 2008 17:34:42 +0000<br><br>





<style>
</style>


<div><font face=3D"Arial" size=3D"2">I will of course=2C Byron. Thank you.<=
/font></div>
<div><font face=3D"Arial" size=3D"2"></font>=A0</div>
<div><font face=3D"Arial" size=3D"2">Ricky</font></div>
<blockquote style=3D"padding-right:0px=3Bpadding-left:5px=3Bmargin-left:5px=
=3Bborder-left:#000000 2px solid=3Bmargin-right:0px">
  <div style=3D"font:10pt arial">----- Original Message ----- </div>
  <div style=3D"background:#e4e4e4=3Bfont:10pt arial=3Bfont-color:black"><b=
>From:</b>=20
  <a title=3D"howell.byron@gmail.com" href=3D"mailto:howell.byron@gmail.com=
">Byron=20
  Howell</a> </div>
  <div style=3D"font:10pt arial"><b>To:</b> <a title=3D"Loopers-Delight@loo=
pers-delight.com" href=3D"mailto:Loopers-Delight@loopers-delight.com">Loope=
rs-Delight@loopers-delight.com</a>=20
  </div>
  <div style=3D"font:10pt arial"><b>Sent:</b> Saturday=2C December 13=2C 20=
08 5:17=20
  PM</div>
  <div style=3D"font:10pt arial"><b>Subject:</b> Re: Live Looping in an ens=
emble=20
  context</div>
  <div><br></div>=A0I intend for each technological element to communicate =
in=20
  some way with one another. I hope the results will be beneficial. I'll ke=
ep=20
  you posted on that.<br>=A0have put together a trio recently in which each=
=20
  musician is utilising some form of interactive technology alongside their=
=20
  acoustic or semi-acoustic instrument
  <div><br></div>
  <div>Hey Ricky</div>
  <div><br></div>
  <div>Please do keep the list posted...on the writing up of the project =
=2Cas=20
  well as the music that is. Very interested to see the form that emerges w=
hen=20
  one tries to put ones music/ musical concepts in words</div>
  <div><br></div>
  <div><br></div>
  <div>For me=2C it perhaps was detrimental to the thesis.....cybernetic=20
  epistemology centred around circularity and feedbackloop as a model for=20
  consiousness...why? the death =A0of an academic :)=A0</div>
  <div><br></div>
  <div>but i brought it back to the music..</div>
  <div>Generate a whole new language it does......describing ones process o=
f=20
  creation or rather of creating. that log of document=2C the archival of t=
he=20
  processs is what the academics want=2C i think....makes for good research=
 on how=20
  we work and create and think..</div>
  <div>Wht does one mean by "clean" sound or "dirty" or "spacious"</div>
  <div>Iteresting because it does link up to that early thread of how to=20
  describe live looping or catagorise it.</div>
  <div><br></div>
  <div>Yakady</div>
  <div>Byron</div>
  <div><br></div>
  <div><br></div>
  <div>but there i go babbling.....</div>
  <div><br></div>
  <div><br>
  <div><br></div>
  <div><br></div>
  <div><br>
  <div class=3D"EC_gmail_quote">On Sat=2C Dec 13=2C 2008 at 5:43 PM=2C Rick=
y Graham <span dir=3D"ltr">&lt=3B<a href=3D"mailto:rock.guitar.guru@btinter=
net.com">rock.guitar.guru@btinternet.com</a>></span>=20
  wrote:<br>
  <blockquote class=3D"EC_gmail_quote" style=3D"padding-left:1ex=3Bborder-l=
eft:#ccc 1px solid">Thanks=20
    for the links=2C Matthias. In beginning my research=2C like you've ment=
ioned=2C I=20
    very much thought of looping within a solo performer context. Now that =
i've=20
    been made aware of the EDP and it's intention for ensemble practice=2C =
it has=20
    become a core focus of my work and I can foresee that it will continue =
in=20
    this manner for quite some time. I have put together a trio recently in=
=20
    which each musician is utilising some form of interactive technology=20
    alongside their acoustic or semi-acoustic instrument. I intend for each=
=20
    technological element to communicate in some way with one another. I ho=
pe=20
    the results will be beneficial. I'll keep you posted on=20
    that.<br><br>Ricky<br><br><br>----- Original Message ----- From: "Matth=
ias=20
    Grob" &lt=3B<a href=3D"mailto:matilists@atarde.com.br">matilists@atarde=
.com.br</a>>
    <div class=3D"EC_Ih2E3d"><br>To: &lt=3B<a href=3D"mailto:Loopers-Deligh=
t@loopers-delight.com">Loopers-Delight@loopers-delight.com</a>><br></div>Se=
nt:=20
    Saturday=2C December 13=2C 2008 4:33 AM
    <div class=3D"EC_Ih2E3d"><br>Subject: Re: Live Looping in an ensemble=20
    context<br><br><br></div>
    <blockquote class=3D"EC_gmail_quote" style=3D"padding-left:1ex=3Bborder=
-left:#ccc 1px solid">
      <div>
      <div></div>
      <div class=3D"EC_Wj3C7c">Great subject!<br><br>I allways felt a bit s=
ad that=20
      although live looping makes playing solo easier=2C it might also caus=
e=20
      people to stay alone.<br>One of the main reason to build the LOOP del=
ay=20
      (which turned into the EDP) was the BrotherSync feature.<br>I did the=
=20
      first session with it in '92 with David Hopkins.<br>But before I had =
great=20
      times to play with others into the same delay machine.<br>Some of the=
 best=20
      recordings are on<br><a href=3D"http://matthias.grob.org/pMusic/CDsE.=
htm">http://matthias.grob.org/pMusic/CDsE.htm</a><br>The most=20
      intense duos have been with percussionists: Giba=2C Bira=2C=20
      =A0David...<br><br>The first festival I participated was Loopstock. I=
=20
      looked for someone =A0to bring me there and Jon Wagner offered some=20
      space in his overloaded fantastic old Volvo=2C next to all his drums.=
 When I=20
      heard he was =A0druming=2C I asked to play together=2C so we met a fe=
w days=20
      before and =A0figured it out and it worked.<br>And I started this wee=
k=20
      to edit the video! (learning...)<br>I will tell you when I upload=20
      it.<br><br>And at Y2k7 I invited Arild Andersen to play with me - whi=
ch=20
      was a bit heavy for me (sync did not work)=2C but still fun!=20
      =A0=3B-)<br><br>And today I talked with Per and he suggested to bring=
 up=20
      this social subject more=2C and I said: can you point me at videos of=
 duo=20
      =A0recordings=2C with at least two players using loops most of the ti=
me?=20
      He =A0could not. I met very few<br>Urban Nature: <a href=3D"http://ww=
w.youtube.com/watch?v=3DGaJKp8KvABc">http://www.youtube.com/watch?v=3DGaJKp=
8KvABc</a><br>Lur: <a href=3D"http://www.youtube.com/watch?v=3D2ZIc1uPcZUY"=
>http://www.youtube.com/watch?v=3D2ZIc1uPcZUY</a><br>Improvizone:=20
      <a href=3D"http://www.youtube.com/watch?v=3D8lV3KN5g-fo">http://www.y=
outube.com/watch?v=3D8lV3KN5g-fo</a> (special case=20
      since Os does the looping)<br>Mich Gerber: <a href=3D"http://www.yout=
ube.com/watch?v=3DbA1srd_bczs">http://www.youtube.com/watch?v=3DbA1srd_bczs=
</a> (he plays=20
      professionally with a band=2C but just him looping)<br>Rick=2C Per an=
d Pellef:=20
      <a href=3D"http://www.youtube.com/watch?v=3DYAySrzSa7Hg">http://www.y=
outube.com/watch?v=3DYAySrzSa7Hg</a><br><br>Yes=2C=20
      to be social here is great=2C to meet at festivals is even better=2C =
=A0but=20
      the best is to do it together!!<br><br>Matthias<br><br>On 12 Dec 2008=
=2C at=20
      10:24=2C Ricky Graham wrote:<br><br>
      <blockquote class=3D"EC_gmail_quote" style=3D"padding-left:1ex=3Bbord=
er-left:#ccc 1px solid">Hello=20
        Everyone=2C<br><br>How many of you loop with an ensemble? Could you=
 get in=20
        touch with =A0me as I'd like to ask you a few=20
        questions.<br><br>Cheers=2C<br><br>Ricky<br></blockquote><br><br><b=
r></div></div>
      <div class=3D"EC_Ih2E3d">-- <br>No virus found in this incoming=20
      message.<br></div>Checked by AVG. Version: 7.5.552 / Virus Database:=
=20
      270.9.17/1846 - Release Date: 12/12/2008 6:59=20
  PM<br><br><br></blockquote><br></blockquote></div><br></div></div>
 =20
  <BR><hr>

  <BR>No virus found in this incoming message.<br>Checked by AVG.=20
  <br>Version: 7.5.552 / Virus Database: 270.9.17/1846 - Release Date:=20
  12/12/2008 6:59 PM<br></blockquote><br /><hr />You live life online. So w=
e put Windows on the web.  <a href=3D'http://clk.atdmt.com/MRT/go/127032869=
/direct/01/' target=3D'_new'>Learn more about Windows Live </a></body>
</html>=

--_cb59aa5a-700b-4f0e-9f9e-06ebdc742727_--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 18:22:44 2008
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Message-ID: <61190.72.51.1229192564.squirrel@www.andredonawa.com>
In-Reply-To: <D04B2B34-EDA4-4DB8-87E3-9974C969E3C2@atarde.com.br>
References: <9ab0c76f0812070513r48cbb6e2u5cf19f65d890646f@mail.gmail.com>
    <493C0B48.2080305@tiscali.co.uk>
    <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com>
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    <D04B2B34-EDA4-4DB8-87E3-9974C969E3C2@atarde.com.br>
Date: Sat, 13 Dec 2008 14:22:44 -0400 (AST)
Subject: Re: Live Looping in an ensemble context.....what gear do u use?
From: =?iso-8859-1?Q?Andr=E9_Donawa?= <andre@andredonawa.com>
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Great topic.

I've been looking for these types of videos for awhile now.
Thanks Matthias.

I'm currently playing  with a guitarist who is using a RC50 and was
wondering if anyone has had any success syncing with it. I think it can
only act as a master.

I'm hoping to sync it with a laptop  Bidule/Mobius combo.

I was wondering what syncing setups everyone is using and what
recommendations you have.

Here are a couple songs that I would like to try this with. They are not
strictly live looping recordings but I'm currently doing them in my live
looping set.

http://www.andredonawa.com/audio/ANDRE_DONAWA-In_Love.m3u

http://www.andredonawa.com/audio/ANDRE_DONAWA-Soca_In_My_Soul.m3u

Thanks,

http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa

Andre

http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa


On Sat, December 13, 2008 12:33 am, Matthias Grob wrote:
> Great subject!
>
> I allways felt a bit sad that although live looping makes playing solo
> easier, it might also cause people to stay alone.
> One of the main reason to build the LOOP delay (which turned into the
> EDP) was the BrotherSync feature.
> I did the first session with it in '92 with David Hopkins.
> But before I had great times to play with others into the same delay
> machine.
> Some of the best recordings are on
> http://matthias.grob.org/pMusic/CDsE.htm
> The most intense duos have been with percussionists: Giba, Bira,
> David...
>
> The first festival I participated was Loopstock. I looked for someone
> to bring me there and Jon Wagner offered some space in his overloaded
> fantastic old Volvo, next to all his drums. When I heard he was
> druming, I asked to play together, so we met a few days before and
> figured it out and it worked.
> And I started this week to edit the video! (learning...)
> I will tell you when I upload it.
>
> And at Y2k7 I invited Arild Andersen to play with me - which was a bit
> heavy for me (sync did not work), but still fun!  ;-)
>
> And today I talked with Per and he suggested to bring up this social
> subject more, and I said: can you point me at videos of duo
> recordings, with at least two players using loops most of the time? He
> could not. I met very few
> Urban Nature: http://www.youtube.com/watch?v=GaJKp8KvABc
> Lur: http://www.youtube.com/watch?v=2ZIc1uPcZUY
> Improvizone: http://www.youtube.com/watch?v=8lV3KN5g-fo (special case
> since Os does the looping)
> Mich Gerber: http://www.youtube.com/watch?v=bA1srd_bczs (he plays
> professionally with a band, but just him looping)
> Rick, Per and Pellef: http://www.youtube.com/watch?v=YAySrzSa7Hg
>
> Yes, to be social here is great, to meet at festivals is even better,
> but the best is to do it together!!
>
> Matthias
>
> On 12 Dec 2008, at 10:24, Ricky Graham wrote:
>
>> Hello Everyone,
>>
>> How many of you loop with an ensemble? Could you get in touch with
>> me as I'd like to ask you a few questions.
>>
>> Cheers,
>>
>> Ricky
>
>



http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 18:34:54 2008
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Date: Sat, 13 Dec 2008 13:34:52 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR "INSPIRATION"
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------=_Part_20691_30121302.1229193292739
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yeah, but it still is not always easy to know whether you're inching the
door back or just making a flat spot on your head where you're beating it
against a wall.

On Fri, Dec 12, 2008 at 4:51 PM, Jeff Duke <jeff_d@embarqmail.com> wrote:

>
>  You said "I find it deeply embarrassing to admit I have fallen into the
>> category of folks who have depended on the former rather >than the later=
 too
>> often in life"
>>
>
> Guilty of same Ted, however just remember another quote, this one  by Yog=
i
> Berra "it ain't over till it's over"
>
> "keep on keeping on",
> http://tiny.cc/OVdJB
>
> J
>
> ----- Original Message ----- From: "tEd (R) kiLLiAn" <tedkillian@charter.=
net
> >
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Friday, December 12, 2008 4:27 PM
> Subject: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR "INSPIRATION"
>
>
>
> I know this thread spent itself out some days ago now.
>
> But I thought I'd share this quote anyway.
>
> I found it on (of all unlikely places) my son's Facebook page listed unde=
r
> his "favorite quotes."
>
> And the originator is (of all unlikely people) Calvin Coolidge.
>
> Here goes . . .
>
> Nothing in the world can take the place of persistence. Talent will not;
> nothing is more common than unsuccessful men with talent. Genius will not=
;
> unrewarded genius is almost a proverb. Education will not; the world is f=
ull
> of educated derelicts. Persistence and determination are omnipotent. The
> slogan "press on" has solved and always will solve the problems of the hu=
man
> race. - Calvin Coolidge
>
> Press on . . .
>
> I find it deeply embarrassing to admit I have fallen into the category of
> folks who have depended on the former rather than the later too often in
> life, and positively galling (personally) to think that my son has seen t=
his
> (in me) and recognized it as a failure as well.
>
> Oh well . . . press on anyway.
>
> Cheers,
>
> tEd (R) kiLLiAn
>
> Man is the only animal that can remain on friendly terms with the victims
> he intends to eat until he eats them. =96 Samuel Butler (1835 - 1902)
>
> http://www.pfmentum.com/PFMCD007.html
> http://www.CDbaby.com/cd/tedkillian
> http://www.guitar9.com/fluxaeterna.html
> http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
> http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768
>
> Ted Killian's "Flux Aeterna" is also available at Apple iTunes
>
>
>
>
> -------------------------------------------------------------------------=
-------
>
>
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.9.17/1845 - Release Date: 12/12/20=
08
> 9:02 AM
>
>


--=20
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
http://www.warrensirota.com

------=_Part_20691_30121302.1229193292739
Content-Type: text/html; charset=WINDOWS-1252
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

yeah, but it still is not always easy to know whether you&#39;re inching th=
e door back or just making a flat spot on your head where you&#39;re beatin=
g it against a wall.<br><br><div class=3D"gmail_quote">On Fri, Dec 12, 2008=
 at 4:51 PM, Jeff Duke <span dir=3D"ltr">&lt;<a href=3D"mailto:jeff_d@embar=
qmail.com">jeff_d@embarqmail.com</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
You said &quot;I find it deeply embarrassing to admit I have fallen into th=
e category of folks who have depended on the former rather &gt;than the lat=
er too often in life&quot;<br>
</blockquote>
<br>
Guilty of same Ted, however just remember another quote, this one &nbsp;by =
Yogi Berra &quot;it ain&#39;t over till it&#39;s over&quot;<br>
<br>
&quot;keep on keeping on&quot;,<br>
<a href=3D"http://tiny.cc/OVdJB" target=3D"_blank">http://tiny.cc/OVdJB</a>=
<br>
<br>
J<br>
<br>
----- Original Message ----- From: &quot;tEd &reg; kiLLiAn&quot; &lt;<a hre=
f=3D"mailto:tedkillian@charter.net" target=3D"_blank">tedkillian@charter.ne=
t</a>&gt;<br>
To: &lt;<a href=3D"mailto:Loopers-Delight@loopers-delight.com" target=3D"_b=
lank">Loopers-Delight@loopers-delight.com</a>&gt;<br>
Sent: Friday, December 12, 2008 4:27 PM<br>
Subject: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR &quot;INSPIRATI=
ON&quot;<div><div></div><div class=3D"Wj3C7c"><br>
<br>
<br>
I know this thread spent itself out some days ago now.<br>
<br>
But I thought I&#39;d share this quote anyway.<br>
<br>
I found it on (of all unlikely places) my son&#39;s Facebook page listed un=
der his &quot;favorite quotes.&quot;<br>
<br>
And the originator is (of all unlikely people) Calvin Coolidge.<br>
<br>
Here goes . . .<br>
<br>
Nothing in the world can take the place of persistence. Talent will not; no=
thing is more common than unsuccessful men with talent. Genius will not; un=
rewarded genius is almost a proverb. Education will not; the world is full =
of educated derelicts. Persistence and determination are omnipotent. The sl=
ogan &quot;press on&quot; has solved and always will solve the problems of =
the human race. - Calvin Coolidge<br>

<br>
Press on . . .<br>
<br>
I find it deeply embarrassing to admit I have fallen into the category of f=
olks who have depended on the former rather than the later too often in lif=
e, and positively galling (personally) to think that my son has seen this (=
in me) and recognized it as a failure as well.<br>

<br>
Oh well . . . press on anyway.<br>
<br>
Cheers,<br>
<br>
tEd &reg; kiLLiAn<br>
<br>
Man is the only animal that can remain on friendly terms with the victims h=
e intends to eat until he eats them. =96 Samuel Butler (1835 - 1902)<br>
<br>
<a href=3D"http://www.pfmentum.com/PFMCD007.html" target=3D"_blank">http://=
www.pfmentum.com/PFMCD007.html</a><br>
<a href=3D"http://www.CDbaby.com/cd/tedkillian" target=3D"_blank">http://ww=
w.CDbaby.com/cd/tedkillian</a><br>
<a href=3D"http://www.guitar9.com/fluxaeterna.html" target=3D"_blank">http:=
//www.guitar9.com/fluxaeterna.html</a><br>
<a href=3D"http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193=
" target=3D"_blank">http://www.indiejazz.com/ProductDetailsView.aspx?Produc=
tID=3D193</a><br>
<a href=3D"http://guitarplayer.com/article/y2k6-international-live/Jun-07/2=
7768" target=3D"_blank">http://guitarplayer.com/article/y2k6-international-=
live/Jun-07/27768</a><br>
<br>
Ted Killian&#39;s &quot;Flux Aeterna&quot; is also available at Apple iTune=
s<br>
<br>
<br>
<br></div></div>
---------------------------------------------------------------------------=
-----<br>
<br>
<br>
<br>
No virus found in this incoming message.<br>
Checked by AVG - <a href=3D"http://www.avg.com" target=3D"_blank">http://ww=
w.avg.com</a><br>
Version: 8.0.176 / Virus Database: 270.9.17/1845 - Release Date: 12/12/2008=
 9:02 AM<br>
<br>
</blockquote></div><br><br clear=3D"all"><br>-- <br>Warren<br><a href=3D"ht=
tp://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ubetoo.com/Arti=
st.taf?_ArtistId=3D6679</a><br><a href=3D"http://www.warrensirota.com">http=
://www.warrensirota.com</a><br>


------=_Part_20691_30121302.1229193292739--

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>> How many of you loop with an ensemble? Could you get in touch with
>> me as I'd like to ask you a few questions.
>>


I've been looping in a lots of duo contexts for about 9 years, and for  
the last three in lots of trios and quartets. The latest being Lawson/ 
Dodds/Wood - a trio that came out of my loopy improv night The Recycle  
Collective.

The trio is bass+loopage, drums+percussion, guitar+rhodes - you can  
hear the album, which was improvised live and then tweaked, at http://www.stevelawson.net/ldw

The only looper I use on the project (or anything else other than tiny  
gigs with less than 10 mins set up time) is the Looperlative.

In this context, it allows me a few things I haven't effectively been  
able to get elsewhere (ruling out software loopage as the whole laptop  
thing really doesn't work for me...):

I love that it's stereo, that the tracks can be synced to a 'musical  
click' (I can play a single beat or bar and then sync all my other  
stuff to that), the multiple tracks allow me to remix what I'm doing,  
the fidelity makes it really tough to tell what's looped and what  
isn't (unless I choose to make that obvious), the line levelness means  
it plays very well with my mixer, so I can, if I choose, loop everyone  
else in the band as well (my AccuGroove-driven bass rig acts as the PA  
for the whole band), the CC controllers and groups mean I can pitch/ 
speed shift, change volume and feedback on individual tracks, groups  
of tracks or everything, and the 6 outputs mean that if we got booked  
into a bigger venue where us all monitoring off my PA was no longer  
feasible, I could route the 'click' type parts to a separate desk or  
channel to feed the drummers monitor.

What I've found over the years of using the Looperlative is that my  
relationship with it gets ever deeper, and as such I think about it  
less and less. It's just there, it does what I want it to do, I rarely  
have to come up with work-arounds, it very rarely does anything I  
didn't want it to do, but it often surprises me in good ways  
(serendipity is the vitamin supplement of any good looping diet :)

not sure if that's what you wanted by way of an answer, but it's  
what's on my mind after a few amazing gigs with Lawson/Dodds/Wood :)

Steve

Where to find me on the web -
  _______________________
*********************************
*** www.stevelawson.net - shiny new site
*** www.stevelawson.net/blog - blog
*** www.myspace.com/solobassstevelawson
*** www.reverbnation.com/stevelawson
*** www.twitter.com/solobasssteve
*** http://www.youtube.com/user/StevieSteve46 - loads of new video here!


--Apple-Mail-4--368907634
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div><br></div><span =
class=3D"Apple-style-span" style=3D"font-family: Verdana; font-size: =
13px; "><blockquote type=3D"cite"><blockquote type=3D"cite">How many of =
you loop with an ensemble? Could you get in touch =
with<br></blockquote></blockquote><blockquote type=3D"cite"><blockquote =
type=3D"cite">me as I'd like to ask you a few =
questions.<br></blockquote></blockquote><blockquote =
type=3D"cite"><blockquote =
type=3D"cite"><br></blockquote></blockquote><blockquote =
type=3D"cite"></blockquote></span><div><br =
class=3D"webkit-block-placeholder"></div><div>I've been looping in a =
lots of duo contexts for about 9 years, and for the last three in lots =
of trios and quartets. The latest being Lawson/Dodds/Wood - a trio that =
came out of my loopy improv night The Recycle =
Collective.&nbsp;</div><div><br></div><div>The trio is bass+loopage, =
drums+percussion, guitar+rhodes - you can hear the album, which was =
improvised live and then tweaked, at <a =
href=3D"http://www.stevelawson.net/ldw">http://www.stevelawson.net/ldw</a>=
</div><div><br></div><div>The only looper I use on the project (or =
anything else other than tiny gigs with less than 10 mins set up time) =
is the Looperlative.&nbsp;</div><div><br></div><div>In this context, it =
allows me a few things I haven't effectively been able to get elsewhere =
(ruling out software loopage as the whole laptop thing really doesn't =
work for me...):&nbsp;</div><div><br></div><div>I love that it's stereo, =
that the tracks can be synced to a 'musical click' (I can play a single =
beat or bar and then sync all my other stuff to that), the multiple =
tracks allow me to remix what I'm doing, the fidelity makes it really =
tough to tell what's looped and what isn't (unless I choose to make that =
obvious), the line levelness means it plays very well with my mixer, so =
I can, if I choose, loop everyone else in the band as well (my =
AccuGroove-driven bass rig acts as the PA for the whole band), the CC =
controllers and groups mean I can pitch/speed shift, change volume and =
feedback on individual tracks, groups of tracks or everything, and the 6 =
outputs mean that if we got booked into a bigger venue where us all =
monitoring off my PA was no longer feasible, I could route the 'click' =
type parts to a separate desk or channel to feed the drummers =
monitor.&nbsp;</div><div><br></div><div>What I've found over the years =
of using the Looperlative is that my relationship with it gets ever =
deeper, and as such I think about it less and less. It's just there, it =
does what I want it to do, I rarely have to come up with work-arounds, =
it very rarely does anything I didn't want it to do, but it often =
surprises me in good ways (serendipity is the vitamin supplement of any =
good looping diet :)&nbsp;</div><div><br></div><div>not sure if that's =
what you wanted by way of an answer, but it's what's on my mind after a =
few amazing gigs with Lawson/Dodds/Wood :)&nbsp;</div><div><br =
class=3D"webkit-block-placeholder"></div><div =
apple-content-edited=3D"true"> <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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; -webkit-border-horizontal-spacing: =
0px; -webkit-border-vertical-spacing: 0px; color: rgb(0, 0, 0); =
font-family: Helvetica; font-size: 12px; font-style: normal; =
font-variant: normal; font-weight: normal; letter-spacing: normal; =
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text-indent: 0px; -webkit-text-size-adjust: auto; text-transform: none; =
orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><div =
style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; -webkit-border-horizontal-spacing: =
0px; -webkit-border-vertical-spacing: 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; -webkit-text-decorations-in-effect: none; =
text-indent: 0px; -webkit-text-size-adjust: auto; text-transform: none; =
orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: =
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; =
-webkit-text-decorations-in-effect: none; text-indent: 0px; =
-webkit-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: =
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; =
-webkit-text-decorations-in-effect: none; text-indent: 0px; =
-webkit-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: =
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; =
-webkit-text-decorations-in-effect: none; text-indent: 0px; =
-webkit-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; "><span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; =
-webkit-border-horizontal-spacing: 0px; -webkit-border-vertical-spacing: =
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; =
-webkit-text-decorations-in-effect: none; text-indent: 0px; =
-webkit-text-size-adjust: auto; text-transform: none; orphans: 2; =
white-space: normal; widows: 2; word-spacing: 0px; =
"><div>Steve</div><div><br =
class=3D"webkit-block-placeholder"></div><div>Where to find me on the =
web =
-</div><div>&nbsp;_______________________</div><div>**********************=
***********</div><div>*** <a =
href=3D"http://www.stevelawson.net">www.stevelawson.net</a> - shiny new =
site</div><div>*** <a =
href=3D"http://www.stevelawson.net/blog">www.stevelawson.net/blog</a> - =
blog</div><div>*** <a =
href=3D"http://www.myspace.com/solobassstevelawson">www.myspace.com/soloba=
ssstevelawson</a></div><div>*** <a =
href=3D"http://www.reverbnation.com/stevelawson">www.reverbnation.com/stev=
elawson</a></div><div>*** <a =
href=3D"http://www.twitter.com/solobasssteve">www.twitter.com/solobassstev=
e</a></div>*** <a =
href=3D"http://www.youtube.com/user/StevieSteve46">http://www.youtube.com/=
user/StevieSteve46</a> - loads of new video =
here!&nbsp;</span></span></span></span></span></div></span></div></span></=
div></span></div></span> </div><br></body></html>=

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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR "INSPIRATION"
Date: Sat, 13 Dec 2008 14:02:12 -0500
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Oh you've seen my flat spot! I try to hide it with makeup! oh well, =
"onward through the fog" - Oat Willy

J
  ----- Original Message -----=20
  From: Warren Sirota=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, December 13, 2008 1:34 PM
  Subject: Re: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR =
"INSPIRATION"


  yeah, but it still is not always easy to know whether you're inching =
the door back or just making a flat spot on your head where you're =
beating it against a wall.


  On Fri, Dec 12, 2008 at 4:51 PM, Jeff Duke <jeff_d@embarqmail.com> =
wrote:



      You said "I find it deeply embarrassing to admit I have fallen =
into the category of folks who have depended on the former rather >than =
the later too often in life"


    Guilty of same Ted, however just remember another quote, this one  =
by Yogi Berra "it ain't over till it's over"

    "keep on keeping on",
    http://tiny.cc/OVdJB

    J

    ----- Original Message ----- From: "tEd =AE kiLLiAn" =
<tedkillian@charter.net>
    To: <Loopers-Delight@loopers-delight.com>
    Sent: Friday, December 12, 2008 4:27 PM
    Subject: ONT THE TOPIC OF DISCIPLINED EFFORT VS WAITING FOR =
"INSPIRATION"



    I know this thread spent itself out some days ago now.

    But I thought I'd share this quote anyway.

    I found it on (of all unlikely places) my son's Facebook page listed =
under his "favorite quotes."

    And the originator is (of all unlikely people) Calvin Coolidge.

    Here goes . . .

    Nothing in the world can take the place of persistence. Talent will =
not; nothing is more common than unsuccessful men with talent. Genius =
will not; unrewarded genius is almost a proverb. Education will not; the =
world is full of educated derelicts. Persistence and determination are =
omnipotent. The slogan "press on" has solved and always will solve the =
problems of the human race. - Calvin Coolidge

    Press on . . .

    I find it deeply embarrassing to admit I have fallen into the =
category of folks who have depended on the former rather than the later =
too often in life, and positively galling (personally) to think that my =
son has seen this (in me) and recognized it as a failure as well.

    Oh well . . . press on anyway.

    Cheers,

    tEd =AE kiLLiAn

    Man is the only animal that can remain on friendly terms with the =
victims he intends to eat until he eats them. =96 Samuel Butler (1835 - =
1902)

    http://www.pfmentum.com/PFMCD007.html
    http://www.CDbaby.com/cd/tedkillian
    http://www.guitar9.com/fluxaeterna.html
    http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
    http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

    Ted Killian's "Flux Aeterna" is also available at Apple iTunes




    =
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-------



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  --=20
  Warren
  http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
  http://www.warrensirota.com



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



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  Checked by AVG - http://www.avg.com=20
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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Oh you've seen my flat spot! I try to =
hide it with=20
makeup! oh well, "onward through the fog" - Oat Willy</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>J</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=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> Saturday, December 13, =
2008 1:34=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: ONT THE TOPIC OF =
DISCIPLINED=20
  EFFORT VS WAITING FOR "INSPIRATION"</DIV>
  <DIV><BR></DIV>yeah, but it still is not always easy to know whether =
you're=20
  inching the door back or just making a flat spot on your head where =
you're=20
  beating it against a wall.<BR><BR>
  <DIV class=3Dgmail_quote>On Fri, Dec 12, 2008 at 4:51 PM, Jeff Duke =
<SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</A>&gt;</SPAN=
>=20
  wrote:<BR>
  <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>
    <BLOCKQUOTE class=3Dgmail_quote=20
    style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">You=20
      said "I find it deeply embarrassing to admit I have fallen into =
the=20
      category of folks who have depended on the former rather &gt;than =
the=20
      later too often in life"<BR></BLOCKQUOTE><BR>Guilty of same Ted, =
however=20
    just remember another quote, this one &nbsp;by Yogi Berra "it ain't =
over=20
    till it's over"<BR><BR>"keep on keeping on",<BR><A=20
    href=3D"http://tiny.cc/OVdJB"=20
    target=3D_blank>http://tiny.cc/OVdJB</A><BR><BR>J<BR><BR>----- =
Original=20
    Message ----- From: "tEd =AE kiLLiAn" &lt;<A=20
    href=3D"mailto:tedkillian@charter.net"=20
    target=3D_blank>tedkillian@charter.net</A>&gt;<BR>To: &lt;<A=20
    href=3D"mailto:Loopers-Delight@loopers-delight.com"=20
    target=3D_blank>Loopers-Delight@loopers-delight.com</A>&gt;<BR>Sent: =
Friday,=20
    December 12, 2008 4:27 PM<BR>Subject: ONT THE TOPIC OF DISCIPLINED =
EFFORT VS=20
    WAITING FOR "INSPIRATION"
    <DIV>
    <DIV></DIV>
    <DIV class=3DWj3C7c><BR><BR><BR>I know this thread spent itself out =
some days=20
    ago now.<BR><BR>But I thought I'd share this quote anyway.<BR><BR>I =
found it=20
    on (of all unlikely places) my son's Facebook page listed under his=20
    "favorite quotes."<BR><BR>And the originator is (of all unlikely =
people)=20
    Calvin Coolidge.<BR><BR>Here goes . . .<BR><BR>Nothing in the world =
can take=20
    the place of persistence. Talent will not; nothing is more common =
than=20
    unsuccessful men with talent. Genius will not; unrewarded genius is =
almost a=20
    proverb. Education will not; the world is full of educated =
derelicts.=20
    Persistence and determination are omnipotent. The slogan "press on" =
has=20
    solved and always will solve the problems of the human race. - =
Calvin=20
    Coolidge<BR><BR>Press on . . .<BR><BR>I find it deeply embarrassing =
to admit=20
    I have fallen into the category of folks who have depended on the =
former=20
    rather than the later too often in life, and positively galling =
(personally)=20
    to think that my son has seen this (in me) and recognized it as a =
failure as=20
    well.<BR><BR>Oh well . . . press on =
anyway.<BR><BR>Cheers,<BR><BR>tEd =AE=20
    kiLLiAn<BR><BR>Man is the only animal that can remain on friendly =
terms with=20
    the victims he intends to eat until he eats them. =96 Samuel Butler =
(1835 -=20
    1902)<BR><BR><A href=3D"http://www.pfmentum.com/PFMCD007.html"=20
    target=3D_blank>http://www.pfmentum.com/PFMCD007.html</A><BR><A=20
    href=3D"http://www.CDbaby.com/cd/tedkillian"=20
    target=3D_blank>http://www.CDbaby.com/cd/tedkillian</A><BR><A=20
    href=3D"http://www.guitar9.com/fluxaeterna.html"=20
    target=3D_blank>http://www.guitar9.com/fluxaeterna.html</A><BR><A=20
    =
href=3D"http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193"=
=20
    =
target=3D_blank>http://www.indiejazz.com/ProductDetailsView.aspx?ProductI=
D=3D193</A><BR><A=20
    =
href=3D"http://guitarplayer.com/article/y2k6-international-live/Jun-07/27=
768"=20
    =
target=3D_blank>http://guitarplayer.com/article/y2k6-international-live/J=
un-07/27768</A><BR><BR>Ted=20
    Killian's "Flux Aeterna" is also available at Apple=20
    =
iTunes<BR><BR><BR><BR></DIV></DIV>---------------------------------------=
-----------------------------------------<BR><BR><BR><BR>No=20
    virus found in this incoming message.<BR>Checked by AVG - <A=20
    href=3D"http://www.avg.com" =
target=3D_blank>http://www.avg.com</A><BR>Version:=20
    8.0.176 / Virus Database: 270.9.17/1845 - Release Date: 12/12/2008 =
9:02=20
    AM<BR><BR></BLOCKQUOTE></DIV><BR><BR clear=3Dall><BR>-- =
<BR>Warren<BR><A=20
  =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ube=
too.com/Artist.taf?_ArtistId=3D6679</A><BR><A=20
  =
href=3D"http://www.warrensirota.com">http://www.warrensirota.com</A><BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.17/1846 -=20
  Release Date: 12/12/2008 6:59 PM<BR></BLOCKQUOTE></BODY></HTML>

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Date: Sat, 13 Dec 2008 13:05:57 -0600
From: "Mark Smart" <marksmartus@gmail.com>
To: Loopers-Delight@loopers-delight.com
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I'll be there demonstrating the Continuum Fingerboard at booth 1803.

-- 
Mark Smart
http://cdbaby.com/cd/marksmart
http://www.marksmart.net

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I&#39;ll be there demonstrating the Continuum Fingerboard at booth 1803.<br><br>-- <br>Mark Smart<br><a href="http://cdbaby.com/cd/marksmart">http://cdbaby.com/cd/marksmart</a><br><a href="http://www.marksmart.net">http://www.marksmart.net</a><br>


------=_Part_70832_15197698.1229195157131--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 19:20:11 2008
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Subject: Re: buying new comp
Date: Sat, 13 Dec 2008 20:20:08 +0100
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brain upgrade?

hehe, just joking.

but: none of your alternatives makes any difference. you already got a  
supercomputer. wanna buy my atari 1040stf?

j
- - -
jayrope
http://www.kliklak.net

On Dec 13, 2008, at 7:34 PM, Loopers-Delight-d-request@loopers-delight.com 
  wrote:

> in your opinion, what would be the most beneficial upgrade for  
> reducing latency?

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 19:24:48 2008
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On Sat, Dec 13, 2008 at 8:20 PM, jayrope LD <jrploopers@kliklak.net> wrote:
>  wanna buy my atari 1040stf?


No thanks. I still have my Atari ST 1040 that I purchased in 1988.
...but no software for it ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 21:50:54 2008
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Date: Sat, 13 Dec 2008 16:47:59 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Video + Baroque + Improv + Poetry  12.19.08 @Outpost Cambridge, MA
To: DrTVideo@egroups.com
Cc: eyecandy@egroups.com, boss-improv@topica.com, iotacenter@egroups.com,
 Loopers-Delight@loopers-delight.com, atari-midi@yahoogroups.com,
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Hi folks,

I'm performing Friday at an event that is usual and eclectic even by 
my own standards. My shows with Todd and John have all been 
mind-expanding, and I'm looking forward to seeing what the baroque 
element adds to the mix.

Friday, December 19 @ Outpost 8:00 $5/10

"The Vortex Other Dimension Ensemble"

Timothy Macri - flute
Harris Shilakowsky - violin and electronics
Todd Brunel - clarinets
Glenn Dickson - clarinet and electronics
Emile Tobenfeld - visual poetics
John Mulrooney - spoken word

This special evening of interactive multi media will feature a
transcription for solo flute of the JS Bach Tocatta and fugue in D,
an adaptation of the Corelli Christmas Concerto, the JS Bach Chromatic
Fantasy and solo clarinet microtonal improvisations.

OUTPOST: 186 1/2 Hampshire St., Inman Sq. Cambridge - All Ages

OUTPOST DIRECTIONS: Near cr. Prospect, opposite Hess gas, behind 
7-11. Big '186' on R side. Follow walk at Left to gallery, REAR

-- 
My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

" Practice makes perfect, imperfect is better."  -- Paul Bley

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 22:00:23 2008
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To: Loopers-Delight@loopers-delight.com
From: topu lyo <topulyo@gmail.com>
Subject: show tonight @ ibeam cello+drums 8:30pm
Date: Sat, 13 Dec 2008 17:00:12 -0500
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hey ya'll

sorry for the self promotion.  there will be a cool
cello + drum show tonight with lots of echoplexing
brooklyn @ ibeam artspace.

check out the group..

myspace.com/livefootagebrooklyn


From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 22:47:14 2008
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Date: Sat, 13 Dec 2008 14:47:13 -0800
From: Rick Walker <looppool@cruzio.com>
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Steve Lawson asked who's looping at NAMM.

We'll see you there, Steve.     Bill and I (and I presume you too) will
be demoing the Looperlative at Bob Amstadt's booth.

Should we attempt a loopers luncheon on Sunday at brunch (say 11 a.m.ish?)

Yours,  Rick Walker

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 23:06:35 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Re: Live Looping in an ensemble context
Date: Sat, 13 Dec 2008 15:06:31 -0800
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When my brother and I do duo or trio gigs, we sync our looperlatives up and
away we go. The looperlative makes syncing easy as there is a separate
record function for the person acting as the master (sync record/overdub)
and the person acting as the slave (midi sync record/overdub). Simply by
having both presets to use, this does away with the complication of having a
midi patch bay determining the master slave relationship, and you can even
forgo a midi merge box  if you have a midi controller that has a midi in and
can act as a thru for the midi clock. If you add more loopers you could use
passive midi merge boxes to allow everyone a chance to be master and a
chance to be slave. Usually if I'm wearing my bondage biker gear, you know
chaps without jeans, and Rick has on his fetish mask with the zipper mouth
and latex body suit, its easy to..Oops I'm sorry I thought I was responding
to the S&M blog site.my apologies. 

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>When my brother and I do duo or trio gigs, we sync =
our looperlatives
up and away we go. The looperlative makes syncing easy as there is a =
separate
record function for the person acting as the master (sync =
record/overdub) and
the person acting as the slave (midi sync record/overdub). Simply by =
having
both presets to use, this does away with the complication of having a =
midi
patch bay determining the master slave relationship, and you can even =
forgo a
midi merge box &nbsp;if you have a midi controller that has a midi in =
and can
act as a thru for the midi clock. If you add more loopers you could use =
passive
midi merge boxes to allow everyone a chance to be master and a chance to =
be
slave. Usually if I&#8217;m wearing my bondage biker gear, you know =
chaps
without jeans, and Rick has on his fetish mask with the zipper mouth and =
latex
body suit, its easy to&#8230;&#8230;Oops I&#8217;m sorry I thought I was
responding to the S&amp;M blog site&#8230;my apologies. =
<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  Sat Dec 13 23:08:23 2008
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Date: Sat, 13 Dec 2008 17:01:21 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Doctor T with New Language Collaborative 12.20.08 @119 Lowell, MA
To: DrTVideo@egroups.com
Cc: eyecandy@egroups.com, boss-improv@topica.com, iotacenter@egroups.com,
 Loopers-Delight@loopers-delight.com, atari-midi@yahoogroups.com,
 FRAMEWORKS@LISTSERV.AOL.COM
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Hi folks,

I'm performing video improvisations next Saturday with a very 
exciting jazz/improv band, the New Language Collaborative at the 
Boston area's most comfortable performance space, the 119 Gallery in 
Lowell.

Doctor T Video Mixing with

Eric Zinman -  keyboard
Glynis Loman -  cello and voice
Syd Smart -  drums

Eric and is an old friend whom I've never performed with. Glynis is 
another old friend whom I've performed  with many times. Syd is a 
long time presence in the Boston jazz scene. I've heard this band 
make exciting music both live and on CD, and am looking forward to 
being a part of it.

8  PM  $10 donation

Culinary note: There is an outstanding Cambodian restaurant next door 
to the gallery.

http://www.119gallery.org/


119 Gallery, 119 Chelmsford St, Lowell MA 01851
978-452-8138


-- 
My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

" Practice makes perfect, imperfect is better."  -- Paul Bley

From Loopers-Delight-request@loopers-delight.com  Sat Dec 13 23:56:34 2008
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Message-ID: <FC063B6FBAD543AFA68DC12C0C1B658D@eluk1>
From: "SP Goodman" <spgoodman@earthlight.net>
To: <Loopers-Delight@loopers-delight.com>
References: <9ab0c76f0812070513r48cbb6e2u5cf19f65d890646f@mail.gmail.com> <493C0B48.2080305@tiscali.co.uk> <9ab0c76f0812071047x7adf20f1n83c64e64a75631db@mail.gmail.com> <493C3A9D.7030403@tiscali.co.uk> <493EEE1C.3090301@googlemail.com> <9ab0c76f0812091554y5f83dc6fka1ad120b64cc05ae@mail.gmail.com> <494258EF.9000607@googlemail.com> <001001c95c5c$e9bc7b00$0501a8c0@STUDIO1> <D04B2B34-EDA4-4DB8-87E3-9974C969E3C2@atarde.com.br> <05fa01c95d39$978f9be0$4201a8c0@Studio> <d23275f20812130917w62f758f1ie6390b391c2c7fdc@mail.gmail.com> <000f01c95d49$15eeff30$4201a8c0@Studio> <BAY125-W52C2AA8544660E2AC0DCB0DBF60@phx.gbl>
Subject: Re: buying new comp - RAM, CPU or HD upgrade?
Date: Sat, 13 Dec 2008 23:56:19 -0000
Organization: EarthLight Productions
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4GB can be got for cheaper than $75 I think.  Ditto for 250GB SATA =
drives, which are nearly dirt compared with the 500's and 1TB drives out =
there, which can cost as little as $100.  You won't use up 300GB as is =
for the moment either.

The faster CPU should be installed and burned in by Dell.  Do the CPU =
option if you're going to do any of them.
  ----- Original Message -----=20
  From: J Johans=20
  To: loopers-delight@loopers-delight.com=20
  Sent: Saturday, December 13, 2008 5:50 PM
  Subject: buying new comp - RAM, CPU or HD upgrade?




  the dell deals seem pretty good


  this is what i have specced:


  intel core 2 duo 2.2ghz /800mhz/2mb FSB
  3gb shared dual channel DDR at 800mhz
  300gig SATA hard drive 5400rppm


  now i have 3 choices for a $75 upgrade -=20
  1) faster CPU - core 2 duo 2.2ghz/1066mhz/3mb FSB
  2) more RAM - 4 GIG
  3) faster hard drive - 250GB SATA hard drive 7200 RPM


  in your opinion, what would be the most beneficial upgrade for =
reducing latency?=20



  thanks

-------------------------------------------------------------------------=
-----
  From: rock.guitar.guru@btinternet.com
  To: Loopers-Delight@loopers-delight.com
  Subject: Re: Live Looping in an ensemble context
  Date: Sat, 13 Dec 2008 17:34:42 +0000


  I will of course, Byron. Thank you.

  Ricky
    ----- Original Message -----=20
    From: Byron Howell=20
    To: Loopers-Delight@loopers-delight.com=20
    Sent: Saturday, December 13, 2008 5:17 PM
    Subject: Re: Live Looping in an ensemble context


     I intend for each technological element to communicate in some way =
with one another. I hope the results will be beneficial. I'll keep you =
posted on that.
     have put together a trio recently in which each musician is =
utilising some form of interactive technology alongside their acoustic =
or semi-acoustic instrument=20


    Hey Ricky


    Please do keep the list posted...on the writing up of the project =
,as well as the music that is. Very interested to see the form that =
emerges when one tries to put ones music/ musical concepts in words




    For me, it perhaps was detrimental to the thesis.....cybernetic =
epistemology centred around circularity and feedbackloop as a model for =
consiousness...why? the death  of an academic :)=20


    but i brought it back to the music..
    Generate a whole new language it does......describing ones process =
of creation or rather of creating. that log of document, the archival of =
the processs is what the academics want, i think....makes for good =
research on how we work and create and think..
    Wht does one mean by "clean" sound or "dirty" or "spacious"
    Iteresting because it does link up to that early thread of how to =
describe live looping or catagorise it.


    Yakady
    Byron




    but there i go babbling.....










    On Sat, Dec 13, 2008 at 5:43 PM, Ricky Graham =
<rock.guitar.guru@btinternet.com> wrote:

      Thanks for the links, Matthias. In beginning my research, like =
you've mentioned, I very much thought of looping within a solo performer =
context. Now that i've been made aware of the EDP and it's intention for =
ensemble practice, it has become a core focus of my work and I can =
foresee that it will continue in this manner for quite some time. I have =
put together a trio recently in which each musician is utilising some =
form of interactive technology alongside their acoustic or semi-acoustic =
instrument. I intend for each technological element to communicate in =
some way with one another. I hope the results will be beneficial. I'll =
keep you posted on that.

      Ricky


      ----- Original Message ----- From: "Matthias Grob" =
<matilists@atarde.com.br>=20

      To: <Loopers-Delight@loopers-delight.com>

      Sent: Saturday, December 13, 2008 4:33 AM=20

      Subject: Re: Live Looping in an ensemble context



        Great subject!

        I allways felt a bit sad that although live looping makes =
playing solo easier, it might also cause people to stay alone.
        One of the main reason to build the LOOP delay (which turned =
into the EDP) was the BrotherSync feature.
        I did the first session with it in '92 with David Hopkins.
        But before I had great times to play with others into the same =
delay machine.
        Some of the best recordings are on
        http://matthias.grob.org/pMusic/CDsE.htm
        The most intense duos have been with percussionists: Giba, Bira, =
 David...

        The first festival I participated was Loopstock. I looked for =
someone  to bring me there and Jon Wagner offered some space in his =
overloaded fantastic old Volvo, next to all his drums. When I heard he =
was  druming, I asked to play together, so we met a few days before and  =
figured it out and it worked.
        And I started this week to edit the video! (learning...)
        I will tell you when I upload it.

        And at Y2k7 I invited Arild Andersen to play with me - which was =
a bit heavy for me (sync did not work), but still fun!  ;-)

        And today I talked with Per and he suggested to bring up this =
social subject more, and I said: can you point me at videos of duo  =
recordings, with at least two players using loops most of the time? He  =
could not. I met very few
        Urban Nature: http://www.youtube.com/watch?v=3DGaJKp8KvABc
        Lur: http://www.youtube.com/watch?v=3D2ZIc1uPcZUY
        Improvizone: http://www.youtube.com/watch?v=3D8lV3KN5g-fo =
(special case since Os does the looping)
        Mich Gerber: http://www.youtube.com/watch?v=3DbA1srd_bczs (he =
plays professionally with a band, but just him looping)
        Rick, Per and Pellef: =
http://www.youtube.com/watch?v=3DYAySrzSa7Hg

        Yes, to be social here is great, to meet at festivals is even =
better,  but the best is to do it together!!

        Matthias

        On 12 Dec 2008, at 10:24, Ricky Graham wrote:


          Hello Everyone,

          How many of you loop with an ensemble? Could you get in touch =
with  me as I'd like to ask you a few questions.

          Cheers,

          Ricky





        --=20
        No virus found in this incoming message.

        Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.17/1846 =
- Release Date: 12/12/2008 6:59 PM









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

    No virus found in this incoming message.
    Checked by AVG.=20
    Version: 7.5.552 / Virus Database: 270.9.17/1846 - Release Date: =
12/12/2008 6:59 PM



-------------------------------------------------------------------------=
-----
  You live life online. So we put Windows on the web. Learn more about =
Windows Live 
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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<BODY class=3Dhmmessage bgColor=3D#ffffff>
<DIV><FONT face=3D"Trebuchet MS">4GB can be got for cheaper than $75 I=20
think.&nbsp; Ditto for 250GB SATA drives, which are nearly dirt compared =
with=20
the 500's and 1TB drives out there, which can cost as little as =
$100.&nbsp; You=20
won't use up 300GB as is for the moment either.</FONT></DIV>
<DIV><FONT face=3D"Trebuchet MS"></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Trebuchet MS">The faster CPU should be installed and =
burned in=20
by Dell.&nbsp; Do the CPU option if you're going to do any of =
them.</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=3Dparispro00@hotmail.com =
href=3D"mailto:parispro00@hotmail.com">J=20
  Johans</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, December 13, =
2008 5:50=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> buying new comp - RAM, =
CPU or HD=20
  upgrade?</DIV>
  <DIV><BR></DIV><BR><BR><SPAN class=3DApple-style-span=20
  style=3D"FONT-SIZE: 11px; FONT-FAMILY: 'Segoe UI'">the dell deals seem =
pretty=20
  good
  <DIV><BR></DIV>
  <DIV>this is what i have specced:</DIV>
  <DIV><BR></DIV>
  <DIV>intel core 2 duo 2.2ghz /800mhz/2mb FSB</DIV>
  <DIV>3gb shared dual channel DDR at 800mhz</DIV>
  <DIV>300gig SATA hard drive 5400rppm</DIV>
  <DIV><BR></DIV>
  <DIV>now i have 3 choices for a $75 upgrade -&nbsp;</DIV>
  <DIV>1) faster CPU - core 2 duo 2.2ghz/1066mhz/3mb FSB</DIV>
  <DIV>2) more RAM - 4 GIG</DIV>
  <DIV>3) faster hard drive - 250GB SATA hard drive 7200 RPM</DIV>
  <DIV><BR></DIV>
  <DIV>in your opinion, what would be the most beneficial upgrade for =
reducing=20
  latency?&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV>thanks</DIV>
  <DIV></DIV></SPAN>
  <HR id=3DstopSpelling>
  From: rock.guitar.guru@btinternet.com<BR>To:=20
  Loopers-Delight@loopers-delight.com<BR>Subject: Re: Live Looping in an =

  ensemble context<BR>Date: Sat, 13 Dec 2008 17:34:42 +0000<BR><BR>
  <STYLE>
</STYLE>

  <DIV><FONT face=3DArial size=3D2>I will of course, Byron. Thank =
you.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Ricky</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=3Dhowell.byron@gmail.com =
href=3D"mailto:howell.byron@gmail.com">Byron=20
    Howell</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, December 13, =
2008 5:17=20
    PM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Live Looping in =
an=20
    ensemble context</DIV>
    <DIV><BR></DIV>&nbsp;I intend for each technological element to =
communicate=20
    in some way with one another. I hope the results will be beneficial. =
I'll=20
    keep you posted on that.<BR>&nbsp;have put together a trio recently =
in which=20
    each musician is utilising some form of interactive technology =
alongside=20
    their acoustic or semi-acoustic instrument=20
    <DIV><BR></DIV>
    <DIV>Hey Ricky</DIV>
    <DIV><BR></DIV>
    <DIV>Please do keep the list posted...on the writing up of the =
project ,as=20
    well as the music that is. Very interested to see the form that =
emerges when=20
    one tries to put ones music/ musical concepts in words</DIV>
    <DIV><BR></DIV>
    <DIV><BR></DIV>
    <DIV>For me, it perhaps was detrimental to the thesis.....cybernetic =

    epistemology centred around circularity and feedbackloop as a model =
for=20
    consiousness...why? the death &nbsp;of an academic :)&nbsp;</DIV>
    <DIV><BR></DIV>
    <DIV>but i brought it back to the music..</DIV>
    <DIV>Generate a whole new language it does......describing ones =
process of=20
    creation or rather of creating. that log of document, the archival =
of the=20
    processs is what the academics want, i think....makes for good =
research on=20
    how we work and create and think..</DIV>
    <DIV>Wht does one mean by "clean" sound or "dirty" or =
"spacious"</DIV>
    <DIV>Iteresting because it does link up to that early thread of how =
to=20
    describe live looping or catagorise it.</DIV>
    <DIV><BR></DIV>
    <DIV>Yakady</DIV>
    <DIV>Byron</DIV>
    <DIV><BR></DIV>
    <DIV><BR></DIV>
    <DIV>but there i go babbling.....</DIV>
    <DIV><BR></DIV>
    <DIV><BR>
    <DIV><BR></DIV>
    <DIV><BR></DIV>
    <DIV><BR>
    <DIV class=3DEC_gmail_quote>On Sat, Dec 13, 2008 at 5:43 PM, Ricky =
Graham=20
    <SPAN dir=3Dltr>&lt;<A=20
    =
href=3D"mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btintern=
et.com</A>&gt;</SPAN>=20
    wrote:<BR>
    <BLOCKQUOTE class=3DEC_gmail_quote=20
    style=3D"PADDING-LEFT: 1ex; BORDER-LEFT: #ccc 1px solid">Thanks for =
the=20
      links, Matthias. In beginning my research, like you've mentioned, =
I very=20
      much thought of looping within a solo performer context. Now that =
i've=20
      been made aware of the EDP and it's intention for ensemble =
practice, it=20
      has become a core focus of my work and I can foresee that it will =
continue=20
      in this manner for quite some time. I have put together a trio =
recently in=20
      which each musician is utilising some form of interactive =
technology=20
      alongside their acoustic or semi-acoustic instrument. I intend for =
each=20
      technological element to communicate in some way with one another. =
I hope=20
      the results will be beneficial. I'll keep you posted on=20
      that.<BR><BR>Ricky<BR><BR><BR>----- Original Message ----- From: =
"Matthias=20
      Grob" &lt;<A=20
      =
href=3D"mailto:matilists@atarde.com.br">matilists@atarde.com.br</A>&gt;=20
      <DIV class=3DEC_Ih2E3d><BR>To: &lt;<A=20
      =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A>&gt;<BR></DIV>Sent:=20
      Saturday, December 13, 2008 4:33 AM=20
      <DIV class=3DEC_Ih2E3d><BR>Subject: Re: Live Looping in an =
ensemble=20
      context<BR><BR><BR></DIV>
      <BLOCKQUOTE class=3DEC_gmail_quote=20
      style=3D"PADDING-LEFT: 1ex; BORDER-LEFT: #ccc 1px solid">
        <DIV>
        <DIV></DIV>
        <DIV class=3DEC_Wj3C7c>Great subject!<BR><BR>I allways felt a =
bit sad that=20
        although live looping makes playing solo easier, it might also =
cause=20
        people to stay alone.<BR>One of the main reason to build the =
LOOP delay=20
        (which turned into the EDP) was the BrotherSync feature.<BR>I =
did the=20
        first session with it in '92 with David Hopkins.<BR>But before I =
had=20
        great times to play with others into the same delay =
machine.<BR>Some of=20
        the best recordings are on<BR><A=20
        =
href=3D"http://matthias.grob.org/pMusic/CDsE.htm">http://matthias.grob.or=
g/pMusic/CDsE.htm</A><BR>The=20
        most intense duos have been with percussionists: Giba, Bira,=20
        &nbsp;David...<BR><BR>The first festival I participated was =
Loopstock. I=20
        looked for someone &nbsp;to bring me there and Jon Wagner =
offered some=20
        space in his overloaded fantastic old Volvo, next to all his =
drums. When=20
        I heard he was &nbsp;druming, I asked to play together, so we =
met a few=20
        days before and &nbsp;figured it out and it worked.<BR>And I =
started=20
        this week to edit the video! (learning...)<BR>I will tell you =
when I=20
        upload it.<BR><BR>And at Y2k7 I invited Arild Andersen to play =
with me -=20
        which was a bit heavy for me (sync did not work), but still fun! =

        &nbsp;;-)<BR><BR>And today I talked with Per and he suggested to =
bring=20
        up this social subject more, and I said: can you point me at =
videos of=20
        duo &nbsp;recordings, with at least two players using loops most =
of the=20
        time? He &nbsp;could not. I met very few<BR>Urban Nature: <A=20
        =
href=3D"http://www.youtube.com/watch?v=3DGaJKp8KvABc">http://www.youtube.=
com/watch?v=3DGaJKp8KvABc</A><BR>Lur:=20
        <A=20
        =
href=3D"http://www.youtube.com/watch?v=3D2ZIc1uPcZUY">http://www.youtube.=
com/watch?v=3D2ZIc1uPcZUY</A><BR>Improvizone:=20
        <A=20
        =
href=3D"http://www.youtube.com/watch?v=3D8lV3KN5g-fo">http://www.youtube.=
com/watch?v=3D8lV3KN5g-fo</A>=20
        (special case since Os does the looping)<BR>Mich Gerber: <A=20
        =
href=3D"http://www.youtube.com/watch?v=3DbA1srd_bczs">http://www.youtube.=
com/watch?v=3DbA1srd_bczs</A>=20
        (he plays professionally with a band, but just him =
looping)<BR>Rick, Per=20
        and Pellef: <A=20
        =
href=3D"http://www.youtube.com/watch?v=3DYAySrzSa7Hg">http://www.youtube.=
com/watch?v=3DYAySrzSa7Hg</A><BR><BR>Yes,=20
        to be social here is great, to meet at festivals is even better, =

        &nbsp;but the best is to do it =
together!!<BR><BR>Matthias<BR><BR>On 12=20
        Dec 2008, at 10:24, Ricky Graham wrote:<BR><BR>
        <BLOCKQUOTE class=3DEC_gmail_quote=20
        style=3D"PADDING-LEFT: 1ex; BORDER-LEFT: #ccc 1px solid">Hello=20
          Everyone,<BR><BR>How many of you loop with an ensemble? Could =
you get=20
          in touch with &nbsp;me as I'd like to ask you a few=20
          =
questions.<BR><BR>Cheers,<BR><BR>Ricky<BR></BLOCKQUOTE><BR><BR><BR></DIV>=
</DIV>
        <DIV class=3DEC_Ih2E3d>-- <BR>No virus found in this incoming=20
        message.<BR></DIV>Checked by AVG. Version: 7.5.552 / Virus =
Database:=20
        270.9.17/1846 - Release Date: 12/12/2008 6:59=20
      =
PM<BR><BR><BR></BLOCKQUOTE><BR></BLOCKQUOTE></DIV><BR></DIV></DIV><BR>
    <HR>
    <BR>No virus found in this incoming message.<BR>Checked by AVG. =
<BR>Version:=20
    7.5.552 / Virus Database: 270.9.17/1846 - Release Date: 12/12/2008 =
6:59=20
    PM<BR></BLOCKQUOTE><BR>
  <HR>
  You live life online. So we put Windows on the web. <A=20
  href=3D"http://clk.atdmt.com/MRT/go/127032869/direct/01/" =
target=3D_new>Learn more=20
  about Windows Live </A></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_00B1_01C95D7E.64EB6260--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 00:04:57 2008
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From: "Sjaak" <tcplugin@scarlet.be>
To: <Loopers-Delight@loopers-delight.com>
Subject: RE: Live Looping in an ensemble context
Date: Sun, 14 Dec 2008 01:04:34 +0100
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> If you add more loopers you could use passive midi merge boxes to 
> allow everyone a chance to be master and a chance to be slave. Usually

> if I'm wearing my bondage biker gear, you know chaps without jeans,
and 
> Rick has on his fetish mask with the zipper mouth and latex body suit,

> its easy to..Oops I'm sorry I thought I was responding to the S&M blog
site.my apologies. 

Lol. Too funny!! I don't wanna know this :)
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
 


From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 00:17:31 2008
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Subject: Re: buying new comp
Date: Sun, 14 Dec 2008 01:17:26 +0100
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would still be interesting, if the atari remains to have a better midi  
timing, then todays interfaces. it was still like that in 98, when i  
compared a ppc 7300 with the stf... phew, back then.
just for fun i compared the performance index of my pizmo (213) with  
my ibook g4 1.2 (607) and my macbook 2.4GHz dual core (3112). isn't  
that hilarious? while the unlisted ppc 7300/166 mhz must have had a PI  
of about 60-80 i assume, that atari seems unreachably way down in the  
stone age of computers, but it's midi was already groovy and stable.
compared to that then the zx81, which was my very first computer,  
seems kind of precambrian. Mine had 8KB of RAM, ...yes, ...kilobyte...

now back to your new computer: it should be fast enough. enjoy it!

j
- - -
jayrope
http://www.kliklak.net

On Dec 14, 2008, at 12:56 AM, Loopers-Delight-d-request@loopers-delight.com 
  wrote:

> Re: buying new comp
>
>
> On Sat, Dec 13, 2008 at 8:20 PM, jayrope LD <jrploopers@kliklak.net>  
> wrote:
>> wanna buy my atari 1040stf?
>
>
> No thanks. I still have my Atari ST 1040 that I purchased in 1988.
> ...but no software for it ;-)

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 00:22:07 2008
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Date: Sat, 13 Dec 2008 19:22:02 EST
Subject: =?ISO-8859-1?Q?Re:=20GIG=20SPAM=A0=20=A0=20Rick=20Walker's=20DAY?=
 =?ISO-8859-1?Q?GLO=20ORANGE=20PLASTIC=20live=20performance=20Sat=20Dec=20?=
 =?ISO-8859-1?Q?20,=A0=20Santa=20Cruz,=20California?=
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In a message dated 12/13/08 7:59:25 AM, looppool@cruzio.com writes:


> you are let in for FREE if you are attired in
> goth/industrial and/or steampunk attire.
>=20
und billy bob sprechen:

<<I=E2=80=99m wearing my bondage biker gear, you know chaps without jeans, a=
nd Rick=20
has on his fetish mask with the zipper mouth and latex body suit>>

do i detect a TREND here with the WALKER BOYZ?.....help an old guy out, i=20
have an idea of GOTH dress but, industrial/steampunk?.....nevermind, that's=20
OT.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and=20
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=3Dnew-d=
p&amp;
icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000010)

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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 12/13/08 7:59:25 AM, looppool@cruzio.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 are let in for FR=
EE if you are attired in<BR>
goth/industrial and/or steampunk attire.<BR>
</BLOCKQUOTE></FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSE=
RIF" SIZE=3D"2"><BR>
und billy bob sprechen:<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"><BR>
&lt;&lt;I=E2=80=99m wearing my bondage biker gear, you know chaps without je=
ans, and Rick has on his fetish mask with the zipper mouth and latex body su=
it&gt;&gt;</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF=
" SIZE=3D"2"><BR>
<BR>
do i detect a TREND here with the WALKER BOYZ?.....help an old guy out, i ha=
ve an idea of GOTH dress but, industrial/steampunk?.....nevermind, that's OT=
.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

--part1_c29.49fbbfc7.3675abaa_boundary--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 02:29:12 2008
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Date: Sat, 13 Dec 2008 18:29:08 -0800
From: Nick <ParadoxQuine@gmail.com>
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Subject: Re: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
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Hi BobC,

I tried using the DSP mixer and...now I'm confused. No matter what I
set the mixer input levels to, ableton picks up a little bit of sound
(too low to know what the sound is though), but only when I am sending
it sound. I'm not sure what that means, maybe the inputs are broken
and can only transmit a little static when given an audio signal? the
mixer itself doesn't show current input volumes, so I just messed with
the line in levels to find out what I said above while watching the
levels in live.

So..not sure where to go from here but I've tested just about
everything now. I'll be calling support on monday but if anyone has
any suggestions before then I'd appreciate them.

thanks
-Nick

On Fri, Dec 12, 2008 at 3:07 PM, RP Collier <skeptikalist@gmail.com> wrote:
>
> On Dec 12, 2008, at 2:42 PM, Nick wrote:
>
>> should I assume the box's inputs are
>> broken all of a sudden?
>>
>> is there any way for me to test to see if the box's hardware is broken
>> for sure, other than the deductive logic I just used to conclude that?
>
>
> Have you tried the DSP mixer?
> It might provide a clue as to what is happening.
>
>
> regards
>
> BobC
>
>
> http://tinyurl.com/yt8f8j   Flickr set
>
> http://www.youtube.com/tynego
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 02:55:58 2008
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
Date: Sat, 13 Dec 2008 18:55:52 -0800
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On Dec 13, 2008, at 6:29 PM, Nick wrote:

>  the
> mixer itself doesn't show current input volumes, so I just messed with
> the line in levels to find out what I said above while watching the
> levels in live.

Why doesn't the mixer show input volume? That seems like a basic  
function.
>
> So..not sure where to go from here but I've tested just about
> everything now.


Sorry if this is too obvious but have you looked at the Audio/MIDI  
Setup utility recently?
Are outputs as desired? Is the sampling rate output as desired? Look  
at the sliders there, have any mutes in the output been activated?

If you have ruled out cables and hardware, you might try Cycling 74's  
Soundflower and see if a configuration with that would help.

Email me directly if you want to follow up considering OT.

regards

BobC

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From: Marc Marshall <agentlesoul2004@yahoo.com>
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Subject: Re: Alternate Guitar Tunings (OT)
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=A0Okay -I see some of you are talking about guitar tuning so I just though=
t I would dive into the pool with my thoughts =A0about alternate and open t=
unings.=A0=A0 I enjoy simple open tunings on my acoustic guitar as well as =
on my electric, though the electric is=A0more suited =A0for the fairly esot=
eric systems made famous by Sonic Youth,=A0even if=A0they learned from amon=
g others, Glenn Branca and Rhys Chatham. For many of their tunings they aba=
ndon conventional string gauges all together! The trick is to use only 3 si=
ze strings strung in pairs. This gives you wonderful drones and dissonances=
 that are quite impossible with normal gauge strings.=A0 I use the followin=
g set up low to high.=A0=A0=20
38-38-28-28-18-18=A0but for the record SY uses slightly lighter strings in=
=A036-36-26-26-17-17=20
Tuning these strings to their normal pitch as they would be pitched in a re=
gular set this gives you the notes=A0A-A=A0 D-D G-G=A0=A0=A0Note that there=
 is less than an octave between the lowest and highest notes=A0=A0 Tuning t=
he G's up to A gives you the octave if you wish and a very usable power cho=
rd as well.=A0=A0 AA DD AA=A0 Of course there are many many ways you can tu=
ne this wonderful set of strings.=A0 If you have any interest in this I wou=
ld be happy to give you some more of SY's tuning as well as some of mine an=
d some links fur furthur research. I can also give you some tips on=A0guita=
r set up. The nut often=A0doesn't take to this very well and often needs so=
me tweaking as does the intonation.=A0=A0=A0Finally I must say that cranked=
 through a tube amp, these tunings give you sounds that you CAN NOT get any=
 other way.=A0=A0 Really.=A0=A0=20
=A0
thanks for this great web group!!
=A0
Marc
 =A0=0A=0A=0A      
--0-225991717-1229235767=:3259
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV id=yiv2046692785>
<DIV>&nbsp;Okay -I see some of you are talking about guitar tuning so I just thought I would dive into the pool with my thoughts &nbsp;about alternate and open tunings.&nbsp;&nbsp; I enjoy simple open tunings on my acoustic guitar as well as on my electric, though the electric is&nbsp;more suited &nbsp;for the fairly esoteric systems made famous by Sonic Youth,&nbsp;even if&nbsp;they learned from among others, Glenn Branca and Rhys Chatham. For many of their tunings they abandon conventional string <SPAN>gauges</SPAN> all together! The trick is to use only 3 size strings strung in pairs. This gives you wonderful drones and dissonances that are quite impossible with normal gauge strings.&nbsp; I use the following set up low to high.&nbsp;&nbsp; </DIV>
<DIV>38-38-28-28-18-18&nbsp;but for the record SY uses slightly lighter strings in&nbsp;36-36-26-26-17-17 </DIV>
<DIV>Tuning these strings to their normal pitch as they would be pitched in a regular set this gives you the notes&nbsp;A-A&nbsp; D-D G-G&nbsp;&nbsp;&nbsp;Note that there is less than an octave between the lowest and highest notes&nbsp;&nbsp; Tuning the G's up to A gives you the octave if you wish and a very usable power chord as well.&nbsp;&nbsp; AA DD AA&nbsp; Of course there are many many ways you can tune this wonderful set of strings.&nbsp; If you have any interest in this I would be happy to give you some more of SY's tuning as well as some of mine and some links fur furthur research. I can also give you some tips on&nbsp;guitar set up. The nut often&nbsp;doesn't take to this very well and often needs some tweaking as does the intonation.&nbsp;&nbsp;&nbsp;Finally I must say that cranked through a tube amp, these tunings give you sounds that you CAN NOT get any other way.&nbsp;&nbsp; Really.&nbsp;&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks for this great web group!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Marc</DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid"><PRE><FONT face=Arial> </FONT>&nbsp;</PRE></BLOCKQUOTE></DIV></td></tr></table><br>

      
--0-225991717-1229235767=:3259--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 12:12:26 2008
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Subject: Re: OT: live/firebox/kaoss pad problems (not sure which but something's
 wrong)
References: <7334ca1b0812120930q3d6af0f5m22aca7c22a2cb0e2@mail.gmail.com> <a8a60dc10812121442r3120468co3dc5f05ede7d3ebc@mail.gmail.com>
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Nick wrote:
> Rainer,
> 
> thanks for the advice. it seems the problem occurs somewhere between
> the input into the firebox and ableton live reading the input. as that
> is the only program I have that lets me choose the input channels, im
> not sure how to determine if the issue is hardware or software. also,
> I reinstalled the firmware on the firebox and restarted my imac and no
> change.
> 
> actually, I just tested the firebox connected to my macbook pro with a
> fresh install of ableton and a mic plugged in to input line 3 (where
> the pad previously was) and it's still at about 10% input volume.

that seems to be working perfectly then,
you won't get a lot of volume plugging a mic into a line socket.

> Unless there's a control for the input volume on the firebox (which I
> don't see for the line ins) should I assume the box's inputs are
> broken all of a sudden?
> 
> is there any way for me to test to see if the box's hardware is broken
> for sure, other than the deductive logic I just used to conclude that?

you're logic is good,
but your apparent assumption that you should get a good strong signal putting
a mic into a line socket would lead to the wrong conclusion.

Try a line source that you know to be working, with a lead
that you know to be working.

Or try the Kaos pad and it's lead into some other device to checkit

andy


> 
> Thanks,
> Nick
> 

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 12:46:09 2008
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Subject: Re: Alternate Guitar Tunings (OT)
Date: Sun, 14 Dec 2008 05:46:05 -0700
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I love tuning my guitar in stacked minor or major seconds...makes for =
some very interesting music and thinking outside the box...

K-
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<DIV><FONT face=3DArial size=3D2>I love tuning my guitar in stacked =
minor or=20
major&nbsp;seconds...makes for some very interesting music and thinking =
outside=20
the box...</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>K-</FONT></DIV></BODY></HTML>

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From: "Ian Popperwell" <popperwell@iname.com>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
Subject: Korg Kaossilator?
Date: Sun, 14 Dec 2008 13:23:05 -0000
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BlankHi,

I know the Kaossilator has been discussed here before, my question is =
really about a specific application.

I know it's primarily designed as a dance music/DJ tool/toy, but I =
wonder if it is any good for creating those trancy/psychodelic=20
type washes - arpegiator/delays/etc. without having to tie up a whole =
synth/module to them? Any thoughts?



Thanks.



Ian.



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<DIV>Hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I know the Kaossilator has been discussed here before, my question =
is=20
really about a specific application.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I know it's primarily designed as a dance music/DJ tool/toy, but I =
wonder=20
if it is any good for creating those&nbsp;trancy/psychodelic </DIV>
<P>type washes - arpegiator/delays/etc. without having to tie up a whole =

synth/module to them? Any thoughts?</P>
<P>&nbsp;</P>
<P>Thanks.</P>
<P>&nbsp;</P>
<P>Ian.</P>
<P>&nbsp;</P></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 13:52:59 2008
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Date: Sun, 14 Dec 2008 14:52:58 +0100
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Subject: Re: Alternate Guitar Tunings (OT)
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On Sun, Dec 14, 2008 at 1:46 PM, Krispen Hartung
<info@krispenhartung.com> wrote:
> I love tuning my guitar in stacked minor or major seconds...makes for some
> very interesting music and thinking outside the box...
>
> K-

Wow, that's advanced. Never tried that... yet. But I have practiced
"unusual" intervals in flute playing by using a continuous foot pedal
to transform pitch with varying grades of offset. In order to learn it
"as an instrument" you have to play with headphones that blocks out
the acoustic flute sound. So you're sort of feeds the brain with a
systematically recalculated pitch in regard to the usual outcome from
those instrument playing reflexes you have previously learned. It's
interesting to notice how this affects your musical instincts to come
up with new strategies for bringing out your expression.

With guitar I sometimes change tuning by ear. In the beginning this
was a practice to "tweak the tuning until it sounds inspiring" and
then play "not knowing the sounding notes"  in a mode of discovering
new chords. However, quite soon I discovered that I couldn't help
hearing what note each string hooked on to anyway. So I moved more
into using that technique as a tool for performing or composing. Like
if I have a certain passage in mind that may be hard to finger on a
guitar I may simply change the tuning. This is also something I
learned in order to meet certain demands form others when working as a
studio musician and having to play one particular thing just once but
in the best sounding way. Alternate tuning was one usual trick - other
tricks were "putting a match/chop stick/icecream stick on the nut to
soften attack and sustain for slide playing, gaffer taping to mute
strings that you don't play during a certain take, gaffer taping tiny
loud speakers to the guitar body to make a line-in guitar take sound
as played loudly in front of an amp, hanging small objects to the
strings to make them sound different (metal paper clips, wedding rings
etc etc).

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Date: Sun, 14 Dec 2008 15:46:11 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Korg Kaossilator?
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> I know it's primarily designed as a dance music/DJ tool/toy, but I wonder if it is any good for creating those trancy/psychodelic
> type washes - arpegiator/delays/etc. without having to tie up a whole synth/module to them? Any thoughts?

The Kaossilator (imo) is, as you say, a toy. It is also designed in a
way so that you can't use it for anything else. There are no arpeggios
I remember, as for delays, almost all lead sounds have a (non
configurable/adjustable) beat-synced delay effect applied to them. If
I was to do synth playing with my fingers on a 2d controller, I'd use
any of my other Kaoss Pads and connect it to my Nord Micromodular.

However, there are people who do actually use it to make proper music.
The canonical statement to that effect is
http://www.jamendo.com/en/album/30442 by list member Nico Spahni (free
download).

            Rainer

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Date: Sun, 14 Dec 2008 15:40:56 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
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Nick,

don't know whether I followed all of the steps you used so far, but to
pinpoint the failure exactly to the Firebox (which I assume you're
trying to do):

Take a source which you know which works. As you will also be testing
line inputs, it shouldn't be a microphone. A synthesizer, a tape deck,
a CD player...whatever.

Connect the Firebox to your computer, don't start any Ableton Live
etc., only start the Firebox Mixer software.

Configure it so the Firebox's headphones monitor the sw mixer output
(I believe you have to lick on the "Main" button in that left row of
buttons).

Connect your "known good" source to the inputs you want to test (3+4
in your example).

Solo these tracks and see if you can hear them in your headphones. Of
course, knowing that the headphone output works helps here, but you
should be able to test that e.g. with Live.

If it works, then the inputs are obviously ok.

            Rainer

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From: Marc Marshall <agentlesoul2004@yahoo.com>
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Subject: Re: Alternate Guitar Tunings (OT)
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--0-60808288-1229266419=:87299
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Fred Frith did some great work with some of those techniques mentioned here=
 and other unusual=A0ones.=A0=A0 He put a pickup=A0near the nut and a drums=
tick or something=A0=A0around the=A08th fret =A0dividing the fretboard in h=
alf . He fed each pickup into=A0it's own volume pedal.=A0=A0=A0stereo sonic=
 mayhem.=A0=A0=A0=A0=A0=A0=A0=A0=A0way cool=A0=20

--- On Sun, 12/14/08, Per Boysen <perboysen@gmail.com> wrote:

From: Per Boysen <perboysen@gmail.com>
Subject: Re: Alternate Guitar Tunings (OT)
To: Loopers-Delight@loopers-delight.com
Date: Sunday, December 14, 2008, 8:52 AM

On Sun, Dec 14, 2008 at 1:46 PM, Krispen Hartung
<info@krispenhartung.com> wrote:
> I love tuning my guitar in stacked minor or major seconds...makes for som=
e
> very interesting music and thinking outside the box...
>
> K-

Wow, that's advanced. Never tried that... yet. But I have practiced
"unusual" intervals in flute playing by using a continuous foot pedal
to transform pitch with varying grades of offset. In order to learn it
"as an instrument" you have to play with headphones that blocks out
the acoustic flute sound. So you're sort of feeds the brain with a
systematically recalculated pitch in regard to the usual outcome from
those instrument playing reflexes you have previously learned. It's
interesting to notice how this affects your musical instincts to come
up with new strategies for bringing out your expression.

With guitar I sometimes change tuning by ear. In the beginning this
was a practice to "tweak the tuning until it sounds inspiring" and
then play "not knowing the sounding notes"  in a mode of discovering
new chords. However, quite soon I discovered that I couldn't help
hearing what note each string hooked on to anyway. So I moved more
into using that technique as a tool for performing or composing. Like
if I have a certain passage in mind that may be hard to finger on a
guitar I may simply change the tuning. This is also something I
learned in order to meet certain demands form others when working as a
studio musician and having to play one particular thing just once but
in the best sounding way. Alternate tuning was one usual trick - other
tricks were "putting a match/chop stick/icecream stick on the nut to
soften attack and sustain for slide playing, gaffer taping to mute
strings that you don't play during a certain take, gaffer taping tiny
loud speakers to the guitar body to make a line-in guitar take sound
as played loudly in front of an amp, hanging small objects to the
strings to make them sound different (metal paper clips, wedding rings
etc etc).

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=3D6550

=0A=0A=0A      
--0-60808288-1229266419=:87299
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV>Fred Frith did some great work with some of those techniques mentioned here and other unusual&nbsp;ones.&nbsp;&nbsp; He put a pickup&nbsp;near the nut and a drumstick or something&nbsp;&nbsp;around the&nbsp;8th fret &nbsp;dividing the fretboard in half . He fed each pickup into&nbsp;it's own volume pedal.&nbsp;&nbsp;&nbsp;stereo sonic mayhem.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;way cool&nbsp; </DIV><BR><BR>--- On <B>Sun, 12/14/08, Per Boysen <I>&lt;perboysen@gmail.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Per Boysen &lt;perboysen@gmail.com&gt;<BR>Subject: Re: Alternate Guitar Tunings (OT)<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Sunday, December 14, 2008, 8:52 AM<BR><BR><PRE>On Sun, Dec 14, 2008 at 1:46 PM, Krispen Hartung
&lt;info@krispenhartung.com&gt; wrote:
&gt; I love tuning my guitar in stacked minor or major seconds...makes for some
&gt; very interesting music and thinking outside the box...
&gt;
&gt; K-

Wow, that's advanced. Never tried that... yet. But I have practiced
"unusual" intervals in flute playing by using a continuous foot pedal
to transform pitch with varying grades of offset. In order to learn it
"as an instrument" you have to play with headphones that blocks out
the acoustic flute sound. So you're sort of feeds the brain with a
systematically recalculated pitch in regard to the usual outcome from
those instrument playing reflexes you have previously learned. It's
interesting to notice how this affects your musical instincts to come
up with new strategies for bringing out your expression.

With guitar I sometimes change tuning by ear. In the beginning this
was a practice to "tweak the tuning until it sounds inspiring" and
then play "not knowing the sounding notes"  in a mode of discovering
new chords. However, quite soon I discovered that I couldn't help
hearing what note each string hooked on to anyway. So I moved more
into using that technique as a tool for performing or composing. Like
if I have a certain passage in mind that may be hard to finger on a
guitar I may simply change the tuning. This is also something I
learned in order to meet certain demands form others when working as a
studio musician and having to play one particular thing just once but
in the best sounding way. Alternate tuning was one usual trick - other
tricks were "putting a match/chop stick/icecream stick on the nut to
soften attack and sustain for slide playing, gaffer taping to mute
strings that you don't play during a certain take, gaffer taping tiny
loud speakers to the guitar body to make a line-in guitar take sound
as played loudly in front of an amp, hanging small objects to the
strings to make them sound different (metal paper clips, wedding rings
etc etc).

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

</PRE></BLOCKQUOTE></td></tr></table><br>

      
--0-60808288-1229266419=:87299--

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Date: Sun, 14 Dec 2008 16:33:42 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: LOOPASTERY
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The Loopastery (which, I assume, is the high seat of the religion of
Loopism) would also make sense from a tax standpoint (isn't there this
tax exepmtion regulation?). So we'd have Michael as the frater
caffeinorum, Rick as the frater rhytmicorum...who else? Abbot? Abbes
Primas? Prior? ;)

(and could I join, perhaps as the frater computatorum or something
like this with a nifty title?)

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 15:59:59 2008
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From: "Tim Thompson" <tjt@nosuch.com>
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In-Reply-To: <20081214062929.99F5E3BE8E@arsenic.violacea.com>
Subject: video looping installation
Date: Sun, 14 Dec 2008 08:00:27 -0800
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A video looping installation that you can interact with is currently on display in the front window of the ATA theater on Valencia
Street (near 21st) in San Francisco:

    http://www.atasite.org/calendar/?x=3445

The bottom of that page has a youtube video with samples.

    ...Tim...

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 16:45:37 2008
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Subject: Re: Korg Kaossilator?
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Thanks Rainer.

----- Original Message ----- 
From: "Rainer Straschill" <moinsound@googlemail.com>
To: <loopers-delight@loopers-delight.com>
Sent: Sunday, December 14, 2008 2:46 PM
Subject: Korg Kaossilator?


>> I know it's primarily designed as a dance music/DJ tool/toy, but I wonder 
>> if it is any good for creating those trancy/psychodelic
>> type washes - arpegiator/delays/etc. without having to tie up a whole 
>> synth/module to them? Any thoughts?
>
> The Kaossilator (imo) is, as you say, a toy. It is also designed in a
> way so that you can't use it for anything else. There are no arpeggios
> I remember, as for delays, almost all lead sounds have a (non
> configurable/adjustable) beat-synced delay effect applied to them. If
> I was to do synth playing with my fingers on a 2d controller, I'd use
> any of my other Kaoss Pads and connect it to my Nord Micromodular.
>
> However, there are people who do actually use it to make proper music.
> The canonical statement to that effect is
> http://www.jamendo.com/en/album/30442 by list member Nico Spahni (free
> download).
>
>            Rainer
>
>
> 



From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 16:49:24 2008
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References: <7334ca1b0812140733n3e9961beve3f876f049e61256@mail.gmail.com>
Subject: Re: LOOPASTERY
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----- Original Message ----- 
From: "Rainer Straschill" <moinsound@googlemail.com>
To: <loopers-delight@loopers-delight.com>
Sent: Sunday, December 14, 2008 3:33 PM
Subject: LOOPASTERY


> The Loopastery (which, I assume, is the high seat of the religion of
> Loopism) would also make sense from a tax standpoint (isn't there this
> tax exepmtion regulation?). So we'd have Michael as the frater
> caffeinorum, Rick as the frater rhytmicorum...who else? Abbot? Abbes
> Primas? Prior? ;)
>
> (and could I join, perhaps as the frater computatorum or something
> like this with a nifty title?)

Might I make an additional suggestion that, when meeting together in sekrit, 
we all wear bathrobes with the ties round our heads?

From SantaClause@NorthPole.com  Sun Dec 14 17:42:07 2008
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Subject: Your gifts for your friends are here! Share a photo
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To: undisclosed-recipients:;

<DIV id=yiv60130219><IMG id=eppi src="http://i34.tinypic.com/juxpgz.jpg" useMap=#m_eppi border=0><MAP id=m_eppi name=m_eppi><AREA shape=RECT target=_blank coords=0,0,1043,765 href="http://webpictures.freehostia.com/"></MAP></DIV></BLOCKQUOTE></TD></TR></TBODY> </TABLE><BR></DIV></BLOCKQUOTE></TD></TR></TBODY></TABLE></DIV></DIV></td></tr></table><br><HR class=dotted><SPAN class=xptFooter>Please do not reply to this email. This mailbox is not monitored and you will not receive a response. For assistance, <A href="http://webpictures.freehostia.com/" target=_blank><FONT color=#003399>email </FONT></A>Santa.This email is not a SPAM! If you want to unsuscribe,send an email to Santa!<BR><BR>With love,<STRONG>Santa</STRONG></SPAN></td>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 18:15:46 2008
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Date: Sun, 14 Dec 2008 13:15:42 EST
Subject: Re: video looping installation
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In a message dated 12/14/08 11:00:13 AM, tjt@nosuch.com writes:


> http://www.atasite.org/calendar/?x=3445
> 

tim!.....great video.....went to your website and really enjoyed the music 
and videos.....thanks for the fun afternoon.....:)m



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000010)

--part1_cca.42c57ea9.3676a74e_boundary
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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 12/14/08 11:00:13 AM, tjt@nosuch.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">http://www.atasite.or=
g/calendar/?x=3D3445<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">tim!.....great video.....went to your website and really enjoyed the musi=
c and videos.....thanks for the fun afternoon.....:)m<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

--part1_cca.42c57ea9.3676a74e_boundary--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 18:37:46 2008
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From: "eterogeneo" <info@eterogeneo.com>
To: <Loopers-Delight@loopers-delight.com>
References: <cca.42c57ea9.3676a74e@aol.com>
Subject: Re: video looping installation
Date: Sun, 14 Dec 2008 19:37:42 +0100
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Nice installation and this one is also great:
http://www.youtube.com/watch?v=3D8-04KrT2hRM&eurl=3Dhttp://nosuch.com/tjt=
/

Fabio=20
www.eterogeneo.com
www.myspace.com/eterogeneo


  ----- Original Message -----=20
  From: Nemoguitt@aol.com=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Sunday, December 14, 2008 7:15 PM
  Subject: Re: video looping installation



  In a message dated 12/14/08 11:00:13 AM, tjt@nosuch.com writes:



    http://www.atasite.org/calendar/?x=3D3445



  tim!.....great video.....went to your website and really enjoyed the =
music and videos.....thanks for the fun afternoon.....:)m



  "EVERYTHING YOU KNOW IS WRONG".....firesign theater

  new groovy tunes at:
  http://www.myspace.com/klobuchar10
  www.ct-collective.com





  **************
  Make your life easier with all your friends, email, and favorite sites =
in one place. Try it now. =
(http://www.aol.com/?optin=3Dnew-dp&icid=3Daolcom40vanity&ncid=3Demlcntao=
lcom00000010)=20


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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.18/1848 - Release Date: =
14/12/2008 12.28

------=_NextPart_000_0201_01C95E23.6E30FBA0
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 6.00.6000.16735" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Nice installation and =
this one is=20
also great:</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080><A=20
href=3D"http://www.youtube.com/watch?v=3D8-04KrT2hRM&amp;eurl=3Dhttp://no=
such.com/tjt/">http://www.youtube.com/watch?v=3D8-04KrT2hRM&amp;eurl=3Dht=
tp://nosuch.com/tjt/</A></FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>Fabio <BR><A=20
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</A><BR><A=20
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</A>=
<BR></FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000080 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=3DNemoguitt@aol.com=20
  href=3D"mailto:Nemoguitt@aol.com">Nemoguitt@aol.com</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, December 14, 2008 =
7:15=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: video looping=20
  installation</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT face=3DGeneva =
color=3D#000000=20
  size=3D2 FAMILY=3D"SANSSERIF"><BR>In a message dated 12/14/08 11:00:13 =
AM, <A=20
  href=3D"mailto:tjt@nosuch.com">tjt@nosuch.com</A> writes:<BR><BR><BR>
  <BLOCKQUOTE=20
  style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #0000ff 2px =
solid; MARGIN-RIGHT: 0px"=20
  cite=3D"" TYPE=3D"CITE"></FONT><FONT face=3DGeneva color=3D#000000 =
size=3D2=20
    FAMILY=3D"SANSSERIF"><A=20
    =
href=3D"http://www.atasite.org/calendar/?x=3D3445">http://www.atasite.org=
/calendar/?x=3D3445</A><BR></BLOCKQUOTE></FONT><FONT=20
  face=3DGeneva color=3D#000000 size=3D2 =
FAMILY=3D"SANSSERIF"><BR><BR></FONT><FONT=20
  face=3DGeneva color=3D#000000 size=3D2 =
FAMILY=3D"SANSSERIF">tim!.....great=20
  video.....went to your website and really enjoyed the music and=20
  videos.....thanks for the fun =
afternoon.....:)m<BR><BR><BR><BR>"EVERYTHING YOU=20
  KNOW IS WRONG".....firesign theater<BR><BR>new groovy tunes at:<BR><A=20
  =
href=3D"http://www.myspace.com/klobuchar10">http://www.myspace.com/klobuc=
har10</A><BR><A=20
  =
href=3D"http://www.ct-collective.com">www.ct-collective.com</A><BR><BR><B=
R></FONT><FONT=20
  face=3DGeneva color=3D#000000 size=3D2=20
  FAMILY=3D"SANSSERIF"></FONT><BR><BR><BR>**************<BR>Make your =
life easier=20
  with all your friends, email, and favorite sites in one place. Try it =
now.=20
  =
(http://www.aol.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3D=
emlcntaolcom00000010)=20

  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.18/1848 -=20
  Release Date: 14/12/2008 12.28<BR></BLOCKQUOTE></FONT></BODY></HTML>

------=_NextPart_000_0201_01C95E23.6E30FBA0--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 14 21:00:10 2008
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Date: Sun, 14 Dec 2008 13:00:05 -0800
Subject: Re: video looping installation
From: Qua Veda <qua@oregon.com>
To: <Loopers-Delight@loopers-delight.com>
Message-ID: <C56AB3D5.FE9%qua@oregon.com>
Thread-Topic: video looping installation
Thread-Index: AcleLvBPJwKs4mu02UWslkW49Bddbg==
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> This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.

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Great!  Love this one,  Fabio

-Qua


On 12/14/08 10:37 AM, "eterogeneo" <info@eterogeneo.com> wrote:

> Nice installation and this one is also great:
> http://www.youtube.com/watch?v=8-04KrT2hRM&eurl=http://nosuch.com/tjt/
>  
> Fabio 
> www.eterogeneo.com <http://www.eterogeneo.com>
> www.myspace.com/eterogeneo <http://www.myspace.com/eterogeneo>
>  
>>  
>> ----- Original Message -----
>>  
>> From:  Nemoguitt@aol.com
>>  
>> To: Loopers-Delight@loopers-delight.com
>>  
>> Sent: Sunday, December 14, 2008 7:15  PM
>>  
>> Subject: Re: video looping  installation
>>  
>> 
>> 
>> In a message dated 12/14/08 11:00:13 AM, tjt@nosuch.com writes:
>> 
>> 
>>  
>> http://www.atasite.org/calendar/?x=3445
>> 
>> 
>> tim!.....great  video.....went to your website and really enjoyed the music
>> and  videos.....thanks for the fun afternoon.....:)m
>> 
>> 
>> 
>> "EVERYTHING YOU  KNOW IS WRONG".....firesign theater
>> 
>> new groovy tunes at:
>> http://www.myspace.com/klobuchar10
>> www.ct-collective.com <http://www.ct-collective.com>
>> 
>> 
>> 
>> 
>> 
>> **************
>> Make your life easier  with all your friends, email, and favorite sites in
>> one place. Try it now.
>> (http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom000000
>> 10)  
>> 
>>  
>> 
>>  
>> 
>> 
>> No virus found in this incoming message.
>> Checked by AVG -  http://www.avg.com
>> Version: 8.0.176 / Virus Database: 270.9.18/1848 -  Release Date: 14/12/2008
>> 12.28
>> 


--B_3312104407_4961957
Content-type: text/html;
	charset="US-ASCII"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>Re: video looping installation</TITLE>
</HEAD>
<BODY>
<FONT FACE=3D"Calibri, Verdana, Helvetica, Arial"><SPAN STYLE=3D'font-size:11pt=
'>Great! &nbsp;Love this one, &nbsp;Fabio<BR>
<BR>
-Qua<BR>
<BR>
<BR>
On 12/14/08 10:37 AM, &quot;eterogeneo&quot; &lt;<a href=3D"info@eterogeneo.c=
om">info@eterogeneo.com</a>&gt; wrote:<BR>
<BR>
</SPAN></FONT><BLOCKQUOTE><SPAN STYLE=3D'font-size:11pt'><FONT COLOR=3D"#000080=
"><FONT FACE=3D"Book Antiqua">Nice installation and this one is also great:<BR=
>
<a href=3D"http://www.youtube.com/watch?v=3D8-04KrT2hRM&amp;eurl=3Dhttp://nosuch.=
com/tjt/">http://www.youtube.com/watch?v=3D8-04KrT2hRM&amp;eurl=3Dhttp://nosuch.=
com/tjt/</a><BR>
</FONT></FONT><FONT FACE=3D"Calibri, Verdana, Helvetica, Arial"> <BR>
</FONT><FONT COLOR=3D"#000080"><FONT FACE=3D"Book Antiqua">Fabio <BR>
www.eterogeneo.com &lt;<a href=3D"http://www.eterogeneo.com">http://www.etero=
geneo.com</a>&gt; <BR>
www.myspace.com/eterogeneo &lt;<a href=3D"http://www.myspace.com/eterogeneo">=
http://www.myspace.com/eterogeneo</a>&gt; <BR>
</FONT></FONT><FONT FACE=3D"Calibri, Verdana, Helvetica, Arial"> <BR>
</FONT></SPAN><BLOCKQUOTE><SPAN STYLE=3D'font-size:11pt'><FONT FACE=3D"Calibri,=
 Verdana, Helvetica, Arial"> <BR>
----- Original Message ----- <BR>
&nbsp;<BR>
<B>From:</B> &nbsp;<a href=3D"Nemoguitt@aol.com">Nemoguitt@aol.com</a> <BR>
&nbsp;<BR>
<B>To:</B> <a href=3D"Loopers-Delight@loopers-delight.com">Loopers-Delight@lo=
opers-delight.com</a> &nbsp;<BR>
&nbsp;<BR>
<B>Sent:</B> Sunday, December 14, 2008 7:15 &nbsp;PM<BR>
&nbsp;<BR>
<B>Subject:</B> Re: video looping &nbsp;installation<BR>
&nbsp;<BR>
<BR>
</FONT><FONT FACE=3D"Geneva, Verdana, Helvetica, Arial"><BR>
In a message dated 12/14/08 11:00:13 AM, <a href=3D"tjt@nosuch.com">tjt@nosuc=
h.com</a> writes:<BR>
<BR>
<BR>
&nbsp;<BR>
<a href=3D"http://www.atasite.org/calendar/?x=3D3445">http://www.atasite.org/ca=
lendar/?x=3D3445</a><BR>
<BR>
<BR>
tim!.....great &nbsp;video.....went to your website and really enjoyed the =
music and &nbsp;videos.....thanks for the fun afternoon.....:)m<BR>
<BR>
<BR>
<BR>
&quot;EVERYTHING YOU &nbsp;KNOW IS WRONG&quot;.....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
<a href=3D"http://www.myspace.com/klobuchar10">http://www.myspace.com/klobuch=
ar10</a><BR>
www.ct-collective.com &lt;<a href=3D"http://www.ct-collective.com">http://www=
.ct-collective.com</a>&gt; <BR>
<BR>
<BR>
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**************<BR>
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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 01:47:55 2008
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Message-ID: <a8a60dc10812141747w15efce4ei78de603dab3020e1@mail.gmail.com>
Date: Sun, 14 Dec 2008 17:47:43 -0800
From: Nick <ParadoxQuine@gmail.com>
Sender: collective.reality@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT: live/firebox/kaoss pad problems (not sure which but something's wrong)
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thanks for all your help guys. it turns out it was my lack of
knowledge that made this so painful. I didn't realize that the line
ins would pick up so little sound when the mic was plugged in, and
it's my only other device capable of inputting to the box besides the
pad. turns out the cable going from the pad to the firebox just
recently broke and that was the whole problem. after swapping the
cables everything works fine now.

thanks again for all the help!
-Nick


On Sun, Dec 14, 2008 at 4:17 AM, andy butler <akbutler@tiscali.co.uk> wrote:
>
>
> Nick wrote:
>>
>> Rainer,
>>
>> thanks for the advice. it seems the problem occurs somewhere between
>> the input into the firebox and ableton live reading the input. as that
>> is the only program I have that lets me choose the input channels, im
>> not sure how to determine if the issue is hardware or software. also,
>> I reinstalled the firmware on the firebox and restarted my imac and no
>> change.
>>
>> actually, I just tested the firebox connected to my macbook pro with a
>> fresh install of ableton and a mic plugged in to input line 3 (where
>> the pad previously was) and it's still at about 10% input volume.
>
> that seems to be working perfectly then,
> you won't get a lot of volume plugging a mic into a line socket.
>
>> Unless there's a control for the input volume on the firebox (which I
>> don't see for the line ins) should I assume the box's inputs are
>> broken all of a sudden?
>>
>> is there any way for me to test to see if the box's hardware is broken
>> for sure, other than the deductive logic I just used to conclude that?
>
> you're logic is good,
> but your apparent assumption that you should get a good strong signal
> putting
> a mic into a line socket would lead to the wrong conclusion.
>
> Try a line source that you know to be working, with a lead
> that you know to be working.
>
> Or try the Kaos pad and it's lead into some other device to checkit
>
> andy
>
>
>>
>> Thanks,
>> Nick
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 03:53:09 2008
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Marc Marshall wrote about his alteration of Sonic Youth's altered tuning 
setup:
                  "I use the following set up low to high.  
38-38-28-28-18-18 but for the record
                            SY uses slightly lighter strings 
in 36-36-26-26-17-17"

Thanks for sharing that tuning, Marc.  I can't wait to try it out.

I always wondered if it would be okay to use all 38s   or equivalent and 
then tune the guitar down
so that it wouldn't be bad for the neck.

I always thought it would be really cool to have guitar tuned C C C C C 
C,   just for the sake of
overtone manipulation only.

Anyone have thoughts on this?    would I seriously screw up my strat to 
do that?

Additionally,  I wanted to try something like C C C C Eb Eb.

In this way you'd have open tuned barr minor chords with a very simple 
double bar up one fret for
major chords.

Distortion and Feedback just love simple open tunings.

I even thought if you set the action hi that you could use a normal 
slide on the first finger and a pinky slide
on the pinky for moeveable simple diadic chords.

I like the idea of using really heavy gauged strings just for their 
resonance value but , again,
am not sure if I"d screw my guitar up attempting it.

I'm just a drummer  (frater ritmacorum  as Rainer so cleverly puts it)  
so I await your collective guitar player wisdom).
There's a ton of young musicians in my town who are fascinated by the 
whole noise scene so I'm trying to put on a little mini
noise festival at Meta Music and mostly play guitar into it  (with maybe 
some Shenai, Zurna and Euphonium).

Towards that end, I just went and checked out the Steve Vai distortion 
pedal to possibly add to my
small arsenal of distortion pedals.............it looks really nice 
<salivate>.

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 03:58:54 2008
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Dear Tim,

This is really great.    Would you consider coming to perform as a
video looper at the next Y2K9 Festival next  October 14-18?

I'd love it if you either did that or even just came and displayed
video looping using whoever was onstage as a video source to loop.

I'm becoming fascinated through my own work in lo fi toy video cam  
'animations'
of my own Abstract Electronic tunes with the notion of looping and 
manipulating
visuals while simultaneously looping music performances.

Have you worked much with Jitter towards that end in your own work?

I thought it might be hip to trigger looped videos from the live loop 
midi outs
possible with the Looperlative, EDP and Repeater (or whatever laptop 
software people are using).

I have an M Audio trigger finger that I could use to further manipulate 
the video loops in such a scenario
but I'm in the very , very beginning stages of this idea (yeah!!!!  I 
just bought my first video projector this
past week).

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 03:59:27 2008
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Date: Sun, 14 Dec 2008 23:59:30 -0400 (AST)
Subject: Re: Live Looping in an ensemble context.....what gear do u use?
From: =?iso-8859-1?Q?Andr=E9_Donawa?= <andre@andredonawa.com>
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Hey Steve and Bill,

Thanks for the feedback.
So far it seems like everyone is using Looperlatives for live synced looping.
Is there anyone out there using laptops for this?

Steve what problems did you have with the laptop route? Was this a fiddle
dee fiddle dum issue?

Digging #4 from the Numbers
"serendipity is the vitamin supplement of any good looping diet"
What a line I'm sure there's a song in there somewhere.

I think I'm going to wait till NAMM.

Thanks again,

Andre

http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa





On Sat, December 13, 2008 2:44 pm, Steve Lawson wrote:
>
>>> How many of you loop with an ensemble? Could you get in touch with
>>> me as I'd like to ask you a few questions.
>>>
>
>
> I've been looping in a lots of duo contexts for about 9 years, and for
> the last three in lots of trios and quartets. The latest being Lawson/
> Dodds/Wood - a trio that came out of my loopy improv night The Recycle
> Collective.
>
> The trio is bass+loopage, drums+percussion, guitar+rhodes - you can
> hear the album, which was improvised live and then tweaked, at
> http://www.stevelawson.net/ldw
>
> The only looper I use on the project (or anything else other than tiny
> gigs with less than 10 mins set up time) is the Looperlative.
>
> In this context, it allows me a few things I haven't effectively been
> able to get elsewhere (ruling out software loopage as the whole laptop
> thing really doesn't work for me...):
>
> I love that it's stereo, that the tracks can be synced to a 'musical
> click' (I can play a single beat or bar and then sync all my other
> stuff to that), the multiple tracks allow me to remix what I'm doing,
> the fidelity makes it really tough to tell what's looped and what
> isn't (unless I choose to make that obvious), the line levelness means
> it plays very well with my mixer, so I can, if I choose, loop everyone
> else in the band as well (my AccuGroove-driven bass rig acts as the PA
> for the whole band), the CC controllers and groups mean I can pitch/
> speed shift, change volume and feedback on individual tracks, groups
> of tracks or everything, and the 6 outputs mean that if we got booked
> into a bigger venue where us all monitoring off my PA was no longer
> feasible, I could route the 'click' type parts to a separate desk or
> channel to feed the drummers monitor.
>
> What I've found over the years of using the Looperlative is that my
> relationship with it gets ever deeper, and as such I think about it
> less and less. It's just there, it does what I want it to do, I rarely
> have to come up with work-arounds, it very rarely does anything I
> didn't want it to do, but it often surprises me in good ways
> (serendipity is the vitamin supplement of any good looping diet :)
>
> not sure if that's what you wanted by way of an answer, but it's
> what's on my mind after a few amazing gigs with Lawson/Dodds/Wood :)
>
> Steve
>
> Where to find me on the web -
>   _______________________
> *********************************
> *** www.stevelawson.net - shiny new site
> *** www.stevelawson.net/blog - blog
> *** www.myspace.com/solobassstevelawson
> *** www.reverbnation.com/stevelawson
> *** www.twitter.com/solobasssteve
> *** http://www.youtube.com/user/StevieSteve46 - loads of new video here!
>
>






From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 04:03:13 2008
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Subject: Re: Alternate Guitar Tunings (OT)
Date: Sun, 14 Dec 2008 20:03:09 -0800
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Well if you adjust the tension of the 38 gauge strings so it's no higher(or 
not much lower) than what would regularly be there, it should be ok.  One of 
the physics guys on the list might be able to calculate that for you.

t
----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Sunday, December 14, 2008 7:53 PM
Subject: Re: Alternate Guitar Tunings (OT)


> Marc Marshall wrote about his alteration of Sonic Youth's altered tuning 
> setup:
>                  "I use the following set up low to high. 
> 38-38-28-28-18-18 but for the record
>                            SY uses slightly lighter strings in 
> 36-36-26-26-17-17"
>
> Thanks for sharing that tuning, Marc.  I can't wait to try it out.
>
> I always wondered if it would be okay to use all 38s   or equivalent and 
> then tune the guitar down
> so that it wouldn't be bad for the neck.
>
> I always thought it would be really cool to have guitar tuned C C C C C C, 
> just for the sake of
> overtone manipulation only.
>
> Anyone have thoughts on this?    would I seriously screw up my strat to do 
> that?
>
> Additionally,  I wanted to try something like C C C C Eb Eb.
>
> In this way you'd have open tuned barr minor chords with a very simple 
> double bar up one fret for
> major chords.
>
> Distortion and Feedback just love simple open tunings.
>
> I even thought if you set the action hi that you could use a normal slide 
> on the first finger and a pinky slide
> on the pinky for moeveable simple diadic chords.
>
> I like the idea of using really heavy gauged strings just for their 
> resonance value but , again,
> am not sure if I"d screw my guitar up attempting it.
>
> I'm just a drummer  (frater ritmacorum  as Rainer so cleverly puts it)  so 
> I await your collective guitar player wisdom).
> There's a ton of young musicians in my town who are fascinated by the 
> whole noise scene so I'm trying to put on a little mini
> noise festival at Meta Music and mostly play guitar into it  (with maybe 
> some Shenai, Zurna and Euphonium).
>
> Towards that end, I just went and checked out the Steve Vai distortion 
> pedal to possibly add to my
> small arsenal of distortion pedals.............it looks really nice 
> <salivate>.
> 

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 04:17:56 2008
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The D'Addario website has the formula.  The trick is you need to know one
variable which is specific to the actual string you're using, related to
ratio of core to winding, type of metal, etc.  D'Addario provides that
number for all their strings.  Here's  someone else's applet that does the
calculations:
http://www.pacificsites.net/~dog/StringTensionApplet.html



On Sun, Dec 14, 2008 at 8:03 PM, Toby G <carpet8@mac.com> wrote:

> Well if you adjust the tension of the 38 gauge strings so it's no higher(or
> not much lower) than what would regularly be there, it should be ok.  One of
> the physics guys on the list might be able to calculate that for you.
>

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The D&#39;Addario website has the formula. &nbsp;The trick is you need to know one variable which is specific to the actual string you&#39;re using, related to ratio of core to winding, type of metal, etc. &nbsp;D&#39;Addario provides that number for all their strings. &nbsp;Here&#39;s &nbsp;someone else&#39;s applet that does the calculations:<div>
<br></div><div><a href="http://www.pacificsites.net/~dog/StringTensionApplet.html">http://www.pacificsites.net/~dog/StringTensionApplet.html</a><br><div><br></div><div><br><br><div class="gmail_quote">On Sun, Dec 14, 2008 at 8:03 PM, Toby G <span dir="ltr">&lt;<a href="mailto:carpet8@mac.com">carpet8@mac.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Well if you adjust the tension of the 38 gauge strings so it&#39;s no higher(or not much lower) than what would regularly be there, it should be ok. &nbsp;One of the physics guys on the list might be able to calculate that for you.<br>
</blockquote></div><br></div></div>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 05:07:49 2008
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Subject: here and now / evolving loops
Date: Mon, 15 Dec 2008 02:07:03 -0300
Cc: Tim Crowe <timcrowe@sbcglobal.net>,
 Thyagi ryan <yogithyagi@yahoo.com.br>
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I just had this inspiring chat with Thiagy, a brasilian musician  
living in London:

Thyagi das
   ...we who?then, arises: Who am 'I'? What is the 'I' that will 'do'  
it?
   What is 'I'?
Matthias Grob
   It does not necessarily areise.
   if it does, just listen to your loop
Thyagi das
   but isn't listening to the loop add up to more 'conditioned'  
living? instead of spontaneous here and nowness??
Matthias Grob
   the loop is like the motion lines in a comic
   http://www.mangatutorials.com/tut/motionlines.php
Thyagi das
   flow...
Matthias Grob
   yes, the loop adds direction to the here and nowness
Thyagi das
   so end of history. no one to die of this or that, to kill for this  
or that, to struggle for this or that...just effortless
   Intelligent Existence, flowing, or rather, adding direction as it  
goes along the core Stuff that Runs It all...somehow!

possible practical looping conclusion:

how about helping the listeners to concentrate on the live playing (if  
on the music, at all...)
  because most energy happens there,
  while the loop is as dead as a recording, just the history to  
indicate the direction?
a point can be described by its coordinates and its velocity vector.
the history of movement suggests such a direction and thus a point in  
the future (conservation),
  but it can also change suddenly (revolution)... at least it should  
be corrected a little (evolution)!
looping helps the player to maintain a direction, with less surprises/ 
shocks,
  and thus leaves the listener more confident and at ease (relaxing)
  but it brings a problem if it becomes static (boring)

without looping
  we mainly have to learn to play steady and flowing
with looping
  we mainly have to learn to renovate and change
  (I observe that often a new layer does not change direction at all...)
  use feedback and multitrack to evolve, rather than just color the past

there is nothing wrong with building a song just like painting a  
picture.
but we don't watch painters, we just look at the final painting (which  
corresponds to the filled loop)
the personal benefit from "telling a story" may be bigger than from  
"painting a situation"
    give it a try!

interestingly the delay machines before 1992 mostly forced us to  
evolve, because they were fading
  (some had a freeze   function but it often brought a hickup)
while the more recent loop gear like a RC20 hardly lets us evolve...

in case you did not do so yet, play with a long delay (2...6sec) with  
60..95% feedback
   and get the feeling of motion lines that follow you!

From paypal@securesuite.net  Mon Dec 15 07:41:58 2008
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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 09:56:13 2008
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with all the bad his still has good reflexes;-)

http://www.youtube.com/watch?v=duLds-TZMGw



      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 10:07:47 2008
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Subject: Re: video looping installation
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beautiful!

www.myspace.com/luisangulocom


--- On Sun, 12/14/08, Qua Veda <qua@oregon.com> wrote:

> From: Qua Veda <qua@oregon.com>
> Subject: Re: video looping installation
> To: Loopers-Delight@loopers-delight.com
> Date: Sunday, December 14, 2008, 1:00 PM
> Great!  Love this one,  Fabio
> 
> -Qua
> 
> 
> On 12/14/08 10:37 AM, "eterogeneo"
> <info@eterogeneo.com> wrote:
> 
> > Nice installation and this one is also great:
> >
> http://www.youtube.com/watch?v=8-04KrT2hRM&eurl=http://nosuch.com/tjt/
> >  
> > Fabio 
> > www.eterogeneo.com <http://www.eterogeneo.com>
> > www.myspace.com/eterogeneo
> <http://www.myspace.com/eterogeneo>
> >  
> >>  
> >> ----- Original Message -----
> >>  
> >> From:  Nemoguitt@aol.com
> >>  
> >> To: Loopers-Delight@loopers-delight.com
> >>  
> >> Sent: Sunday, December 14, 2008 7:15  PM
> >>  
> >> Subject: Re: video looping  installation
> >>  
> >> 
> >> 
> >> In a message dated 12/14/08 11:00:13 AM,
> tjt@nosuch.com writes:
> >> 
> >> 
> >>  
> >> http://www.atasite.org/calendar/?x=3445
> >> 
> >> 
> >> tim!.....great  video.....went to your website and
> really enjoyed the music
> >> and  videos.....thanks for the fun
> afternoon.....:)m
> >> 
> >> 
> >> 
> >> "EVERYTHING YOU  KNOW IS
> WRONG".....firesign theater
> >> 
> >> new groovy tunes at:
> >> http://www.myspace.com/klobuchar10
> >> www.ct-collective.com
> <http://www.ct-collective.com>
> >> 
> >> 
> >> 
> >> 
> >> 
> >> **************
> >> Make your life easier  with all your friends,
> email, and favorite sites in
> >> one place. Try it now.
> >>
> (http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom000000
> >> 10)  
> >> 
> >>  
> >> 
> >>  
> >> 
> >> 
> >> No virus found in this incoming message.
> >> Checked by AVG -  http://www.avg.com
> >> Version: 8.0.176 / Virus Database: 270.9.18/1848 -
>  Release Date: 14/12/2008
> >> 12.28
> >>


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 10:17:32 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: wood stompbox for bass drum
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H gang,
Anybody tried this:

http://www.ellisguitars.com/stompbox.html

I just bought a used one on ebay,although ive been actually using a cohiba cuban cigar box stuffed with cloth and  an akg mic inside it and it sounds great but is a bit big for my pedalboard.Essentially i would like find something that would have 2 functions,bass drum  with hill and sort of a  hihat sound with toe,but still small,is there such a thing out there?

www.myspace.com/luisangulocom


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 10:21:18 2008
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Date: Mon, 15 Dec 2008 11:21:16 +0100
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Matthias,
> interestingly the delay machines before 1992 mostly forced us to evolve, because they were fading
>  (some had a freeze   function but it often brought a hickup)
> while the more recent loop gear like a RC20 hardly lets us evolve...

In my experience when working with loopers, a very important aspect is
how feedback is implemented. All of the loopers I know have either a
fixed feedback value somewhere in the upper range, or they allow you
to adjust feedback (think Repeater) but only while you're overdubbing
(I believe this is called "secondary feedback" in the EDP realm) - the
sole exception being the EDP, and of course any delay effect (DD20, D2
etc.).

For me, the important innovation in my way of working was to also have
feedback<1 when not overdubbing, which automatically forces you to
evolve. Thanks for pointing that out - I'm with you in suggesting to
other loopers to work with a looper which allows to do that or else
just use a delay instead of a looper.

           Rainer

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the LP-1 does it as well. you can set the feedback level on a track that is
playing (not recording)
sim

On Mon, Dec 15, 2008 at 10:21 AM, Rainer Straschill <
moinsound@googlemail.com> wrote:

> All of the loopers I know have either a
> fixed feedback value somewhere in the upper range, or they allow you
> to adjust feedback (think Repeater) but only while you're overdubbing
> (I believe this is called "secondary feedback" in the EDP realm) - the
> sole exception being the EDP, and of course any delay effect (DD20, D2
> etc.).
>

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the LP-1 does it as well. you can set the feedback level on a track that is playing (not recording)<div><br></div><div>sim<br><br><div class="gmail_quote">On Mon, Dec 15, 2008 at 10:21 AM, Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com">moinsound@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">All of the loopers I know have either a<br>
fixed feedback value somewhere in the upper range, or they allow you<br>
to adjust feedback (think Repeater) but only while you&#39;re overdubbing<br>
(I believe this is called &quot;secondary feedback&quot; in the EDP realm) - the<br>
sole exception being the EDP, and of course any delay effect (DD20, D2<br>
etc.).<br></blockquote></div><br></div>

------=_Part_46776_22353731.1229337179471--

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Date: Mon, 15 Dec 2008 12:01:52 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: here and now / evolving loops
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A feature I like in SooperLooper is that you can chose if feedback
will also be active (according to percentage setting) in playback
mode, or not. When set to "not" it sort of resembles the Repeater (se
Rainers write-up below), the EDP used in Replace/Flip/Expert Mode or
the Mobius looper as it applices Secondary Feedback.

The SooperLooper solution is brilliantly simple. You can keep the
feedback set to fifty percent and simply turn off the "feedback active
in playback mode" when the loop has faded to the preferred level. And
when you overdub this setting will create "a pocket" in old layers for
your new addition. Such sculpturing is one of my fav looping
techniques, all the way from adding small, almost granular, slices to
manipulating the full loop.

Funny to remember that when I first stated looping in -82 I never
thought about "feedback". A delay unit I was using had a "hold"
function with a pedal to it. In order to avoid "a bump" in the loop I
had to learn to play my instrument (audio source) in a way that it had
the same sound at the loop start and the loop point. In retrospect it
would have been so easy to simply take out the loop signal and run it
through a volume pedal before feeding it back. So simple and powerful
routing trick - but it just never hit my imagination back then.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Mon, Dec 15, 2008 at 11:21 AM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> Matthias,
>> interestingly the delay machines before 1992 mostly forced us to evolve, because they were fading
>>  (some had a freeze   function but it often brought a hickup)
>> while the more recent loop gear like a RC20 hardly lets us evolve...
>
> In my experience when working with loopers, a very important aspect is
> how feedback is implemented. All of the loopers I know have either a
> fixed feedback value somewhere in the upper range, or they allow you
> to adjust feedback (think Repeater) but only while you're overdubbing
> (I believe this is called "secondary feedback" in the EDP realm) - the
> sole exception being the EDP, and of course any delay effect (DD20, D2
> etc.).
>
> For me, the important innovation in my way of working was to also have
> feedback<1 when not overdubbing, which automatically forces you to
> evolve. Thanks for pointing that out - I'm with you in suggesting to
> other loopers to work with a looper which allows to do that or else
> just use a delay instead of a looper.
>
>           Rainer
>
>

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 11:14:35 2008
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Subject: Re: wood stompbox for bass drum
Date: Mon, 15 Dec 2008 11:14:20 -0000
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----- Original Message ----- 
From: "L.Angulo" <labaloops@yahoo.com>
To: "Loopers Delight" <loopers-delight@loopers-delight.com>
Sent: Monday, December 15, 2008 10:17 AM
Subject: wood stompbox for bass drum


>H gang,
> Anybody tried this:
>
> http://www.ellisguitars.com/stompbox.html
>
> I just bought a used one on ebay,although ive been actually using a cohiba 
> cuban cigar box stuffed with cloth and  an akg mic inside it and it sounds 
> great but is a bit big for my pedalboard.Essentially i would like find 
> something that would have 2 functions,bass drum  with hill and sort of a 
> hihat sound with toe,but still small,is there such a thing out there?
>
> www.myspace.com/luisangulocom
>

Hah, my first attempt at this was my old SM57 inside the NJ Bell Telephone 
book. :) 

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 11:27:11 2008
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Date: Mon, 15 Dec 2008 12:27:09 +0100
From: "Giovanni De Sisto" <giovannidesisto@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Re: Boss RC-50. Switcing Patch on stage. Loop End mode. It doesnotwork!
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Hi Buzap!
This week end i will upgrade my rc-50 and perform more tests.

You wrote (answering my question):
me>> why, when i use "immediate" mode to change patch there is not delay time?
you>Does it really work without delay in immediate mode? That would be
surprising.

I'm sure: it start immediately, without any delay... i perform it with
an only "drum test"... on beat it sound great... but it's so hard to
press in time the pedal!!! it is not applicable on live performance...
you know :(

Do you know if is there an unoffical envelop group for boss products?
I'm a computer science engenieer... maybe I can try to write some code
 to fix the bug... but I need the uncompiled code (not exadecimal like
the bin files).

Best regard Buzap!
Giovanni

ps: excuse me for my english! I'm italian: i've studied it at school
and no more... many years ago!

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> > All of the loopers I know have either a
> > fixed feedback value somewhere in the upper range, or they allow you
> > to adjust feedback (think Repeater) but only while you're overdubbing=

> > (I believe this is called "secondary feedback" in the EDP realm) - th=
e
> > sole exception being the EDP, and of course any delay effect (DD20, D=
2

With the LP1, you can store level, feedback, and pan for each track in 10=
 presets and call them with a single pc or cc message. That's how I plan =
to initialize my looper for a particular song structure. And you can alwa=
ys change the initial feedback value regardless of the status of a track,=
 just like a delay.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw 
=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 12:19:55 2008
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Date: Mon, 15 Dec 2008 13:19:54 +0100
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To: Loopers-Delight@loopers-delight.com
Subject: Re: here and now / evolving loops
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>> > All of the loopers I know have either a
>> > fixed feedback value somewhere in the upper range, or they allow you
>> > to adjust feedback (think Repeater) but only while you're overdubbing
>> > (I believe this is called "secondary feedback" in the EDP realm) - the
>> > sole exception being the EDP, and of course any delay effect (DD20, D2

On Mon, Dec 15, 2008 at 1:14 PM, Sjaak <tcplugin@scarlet.be> wrote:
> With the LP1, you can store level, feedback, and pan for each track in 10 presets and call them with a single pc or cc message. That's how I plan to initialize my looper for a particular song structure. And you can always change the initial feedback value regardless of the status of a track, just like a delay.
> ---


That's neat. If using a Behringer FCB pedal you can achieve this with
any looper. that supports continuous values for feedback, by setting
up fixed value FCB kick buttons for the CC assigned to feedback.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Norton Finance
Central Processing Office,
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Rotherham,
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S60 2EB


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**********************************
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Signed, .

Management,

 
Online finance
Mr David Anderson



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Norton Finance
Central Processing Office,
Norton House,
Mansfield Road,
Rotherham,
South Yorkshire
S60 2EB


Dear Friend,
 
Permit a brief introduction of our service. Norton Finance plc is a registered company in the British entity. In our loan scheme tagged 'loan under two weeks',every customer both local and international have the guarantee of obtaining a loan from this company on the mode of unsecured offshore international funding which means no collateral is required for this process. In general we offer all type of loan such as constructive, car,hotel, mortgages,start up capital,working capital and lots more provided the project requiring funding is of a legitimate entity.

Our service has been repositioned and standardized to meet customers demands in an economical way. Our interest charge is indeed reasonable,we offer hassle free loan service where by customers are allowed to make repayment over a long time span.

Lastly, we fund small scale loan firm, intermediaries,small scale financial institutions for we have unlimited capital. To apply for a loan, Kindly complete the below form and return back to us. Client Requesting Loan Requested Information To Proceed:

 
**********************************
LOAN APPLICATION FORM
**********************************

A)Full Name:
B)Contact Address:
C)Phone Number:
D)Amount Needed:
E)Proof Of Return Of Funds:
F)Occupation:
G)Reason for seeking Loan:

For further details to go about procuring a loan from Norton Finance, contact

Email:-nortonfinance1969@hotmail.com


 
Signed, .

Management,

 
Online finance
Mr David Anderson



+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
This message is confidential and is solely intended for the individual named. If you have received this e-mail in error please notify the sender. Universiti Tunku Abdul Rahman and/or the sender accepts no liability for any damages, claims or losses caused by any viruses that may be transmitted by this e-mail or any attachment. Any views or opinions presented in this e-mail are solely those of the sender.  No contract or official order shall be concluded by means of this e-mail.
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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 13:22:09 2008
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> Per wrote:
> That's neat. If using a Behringer FCB pedal you can achieve this with
> any looper. that supports continuous values for feedback, by setting
> up fixed value FCB kick buttons for the CC assigned to feedback.

Good idea. However, I doubt if the LP1 allows you to do this because of t=
he midi learn feature and the way assigning LP1 functions has been setup.=
 Volume, pan and feedback only appear in the expression pedal (=3D calibr=
ate pedal menu) mode and not in the CC button mode (=3D user button menu)=
. 

May be this workaround works: 
1) assign an expression pedal to CC 21 +  the LP1 feedback function 
2) Assign CC 21 with a fixed value also to a momentary button of your mid=
i controller 

You made me curious, I=92ll check it out ? 
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

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To: Loopers-Delight@loopers-delight.com
Subject: Re: here and now / evolving loops
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>> Per wrote:
>> That's neat. If using a Behringer FCB pedal you can achieve this with
>> any looper. that supports continuous values for feedback, by setting
>> up fixed value FCB kick buttons for the CC assigned to feedback.

On Mon, Dec 15, 2008 at 2:22 PM, Sjaak <tcplugin@scarlet.be> wrote:
> Good idea. However, I doubt if the LP1 allows you to do this because of the midi learn feature and the way assigning LP1 functions has been setup. Volume, pan and feedback only appear in the expression pedal (= calibrate pedal menu) mode and not in the CC button mode (= user button menu).


Oh... OUCH! You mean it's only available from an analog jack?
But I guess that can be changed in future LP1 software upgrades?
MIDI CC control is quite effective for any continuous parameter.

> May be this workaround works:
> 1) assign an expression pedal to CC 21 +  the LP1 feedback function
> 2) Assign CC 21 with a fixed value also to a momentary button of your midi controller

Erhm.. wasn't that what I suggested? And didn't you say in the first
sentence that it's not possible with the LP1? I admit I'm losing track
of this discussion now ;-))

Per

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yes, that's absolutely possible. you can do it with any parameter that's
usually controlled via a continuous source. i've done it with pitch, so i
can repitch a loop by discrete intervals. just set up the "calibrate pedal"
bit first and then hijack the cc number for a button and set whatever value
you want don't forget the lp-1 also has parameters for "feedback -10" and
"feedback +10" as well

sim

On Mon, Dec 15, 2008 at 1:22 PM, Sjaak <tcplugin@scarlet.be> wrote:

>
> May be this workaround works:
> 1) assign an expression pedal to CC 21 +  the LP1 feedback function
> 2) Assign CC 21 with a fixed value also to a momentary button of your midi
> controller
>

------=_Part_49861_18487609.1229349451469
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yes, that&#39;s absolutely possible. you can do it with any parameter that&#39;s usually controlled via a continuous source. i&#39;ve done it with pitch, so i can repitch a loop by discrete intervals. just set up the &quot;calibrate pedal&quot; bit first and then hijack the cc number for a button and set whatever value you want&nbsp;<div>
don&#39;t forget the lp-1 also has parameters for &quot;feedback -10&quot; and &quot;feedback +10&quot; as well</div><div><br></div><div>sim<br><br><div class="gmail_quote">On Mon, Dec 15, 2008 at 1:22 PM, Sjaak <span dir="ltr">&lt;<a href="mailto:tcplugin@scarlet.be">tcplugin@scarlet.be</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div class="Ih2E3d"><br></div>
May be this workaround works:<br>
1) assign an expression pedal to CC 21 + &nbsp;the LP1 feedback function<br>
2) Assign CC 21 with a fixed value also to a momentary button of your midi controller<br></blockquote></div><br></div>

------=_Part_49861_18487609.1229349451469--

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www.timthompson.com.....a great site for tim's work.....make sure you check 
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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">www.timthompson.com.....a great site fo=
r tim's work.....make sure you check out his music under the "got a few seco=
nds" heading.....wonderful stuff.....:)m<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
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> Per wrote:
> Oh... OUCH! You mean it's only available from an analog jack?
> But I guess that can be changed in future LP1 software upgrades?
> MIDI CC control is quite effective for any continuous parameter.

> 
> Erhm.. wasn't that what I suggested? And didn't you say in the first
> sentence that it's not possible with the LP1? I admit I'm losing track
> of this discussion now ;-))

I can imagine you're lost, my fault :) The LP1 was I think originally des=
igned to trigger up to 8 =93LP1 functions=94 like rec, dub, replace, reve=
rse etc with a single program change and volume + feedback using a CC mes=
sage from a expression pedal. A series of 1 to 8 LP1 functions is called =
a midi or user button. Later on, Bob also added midi CC=92s to trigger th=
em. 

The point is that =93feedback xx=94 does not exist in the list of availab=
le functions. It does have feedback -10%, =93feedback 10%, feedback 100% =
but not a configurable value like feedback 65% etc. In addition to that, =
you can assign a continuous controller to control feedback from 0-100% 

Is this better? : )

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 14:56:07 2008
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Subject: Re: LP1 feedback (was here and now / evolving loops)
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> yes, that's absolutely possible. you can do it with any parameter that'=
s
> usually controlled via a continuous source. i've done it with pitch, so=
 i
> can repitch a loop by discrete intervals. just set up the "calibrate pe=
dal"
> bit first and then hijack the cc number for a button and set whatever v=
alue
> you want don't forget the lp-1 also has parameters for "feedback -10" a=
nd
> "feedback +10" as well

So you more or less programmed your own pitch 60%, pitch 70% functions et=
c? Thanks Sim, that's good to know. 
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

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On Mon, Dec 15, 2008 at 3:26 PM, Sjaak <tcplugin@scarlet.be> wrote:

> The point is that "feedback xx" does not exist in the list of available functions. It does have feedback -10%, "feedback 10%, feedback 100% but not a configurable value like feedback 65% etc. In addition to that, you can assign a continuous controller to control feedback from 0-100%
>
> Is this better? : )


Brilliant explanation! I can totally wrap my brain around that.

per

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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 15:18:13 2008
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> > Is this better? : )
> per wrote
> Brilliant explanation! I can totally wrap my brain around that. 

lol :) It's not easy to write up in English what your brain thinks in Dut=
ch. Anyway, the good news is that Sim confirmed in a previous message a w=
orkaround solves the issue. So everything is possible.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw=0A
---
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 16:53:36 2008
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well you fiddle about until you find the cc number that corresponds with the
degree of pitch change you want. i have several buttons set up to give me a
Dorian scale over one octave with the unpitched loop as the top note
sim

On Mon, Dec 15, 2008 at 2:56 PM, Sjaak <tcplugin@scarlet.be> wrote:

> > yes, that's absolutely possible. you can do it with any parameter that's
> > usually controlled via a continuous source. i've done it with pitch, so i
> > can repitch a loop by discrete intervals. just set up the "calibrate
> pedal"
> > bit first and then hijack the cc number for a button and set whatever
> value
> > you want don't forget the lp-1 also has parameters for "feedback -10" and
> > "feedback +10" as well
>
> So you more or less programmed your own pitch 60%, pitch 70% functions etc?
> Thanks Sim, that's good to know.
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
> ---
> Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!
> Doe mee en surf ook gratis! >> http://www.scarlet.be/nl/mgm
>
>

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well you fiddle about until you find the cc number that corresponds with the degree of pitch change you want. i have several buttons set up to give me a Dorian scale over one octave with the unpitched loop as the top note<div>
<br></div><div>sim<br><br><div class="gmail_quote">On Mon, Dec 15, 2008 at 2:56 PM, Sjaak <span dir="ltr">&lt;<a href="mailto:tcplugin@scarlet.be">tcplugin@scarlet.be</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
&gt; yes, that&#39;s absolutely possible. you can do it with any parameter that&#39;s<br>
&gt; usually controlled via a continuous source. i&#39;ve done it with pitch, so i<br>
&gt; can repitch a loop by discrete intervals. just set up the &quot;calibrate pedal&quot;<br>
&gt; bit first and then hijack the cc number for a button and set whatever value<br>
&gt; you want don&#39;t forget the lp-1 also has parameters for &quot;feedback -10&quot; and<br>
&gt; &quot;feedback +10&quot; as well<br>
<br>
So you more or less programmed your own pitch 60%, pitch 70% functions etc? Thanks Sim, that&#39;s good to know.<br>
<div><div></div><div class="Wj3C7c">---<br>
Sjaak<br>
<a href="http://www.livelooping.be/" target="_blank">http://www.livelooping.be/</a><br>
<a href="http://www.overgaauw.be/" target="_blank">http://www.overgaauw.be/</a><br>
<a href="http://www.myspace.com/sjaakovergaauw" target="_blank">http://www.myspace.com/sjaakovergaauw</a><br>
<br>
---<br>
Reeds meer dan 2000 Scarlet klanten betalen geen abonnement meer!<br>
Doe mee en surf ook gratis! &gt;&gt; <a href="http://www.scarlet.be/nl/mgm" target="_blank">http://www.scarlet.be/nl/mgm</a><br>
<br>
</div></div></blockquote></div><br></div>

------=_Part_54370_13067042.1229359790640--

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Matthias Grob schrieb:
> There is not enough space for BrotherAndSisterSync on the back - bad excuse
> Maybe I should have simply called it SisterSync
> or NeighborSync

I'd call it Syncster...

-- 
Les Ondes Mémorielles----x-------
--_____-----------|--------------
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

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Reply-To: <madawi_atassi@voila.fr>
To: ......
Subject: FROM MADAWI ATASSI
Date: Mon, 15 Dec 2008 18:51:01 +0000
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FROM THE DESK OF MADAWI ATASSI 
BILL AND EXCHANGE MANAGER, 
BANK OF AFRICA (B.O.A) OUAGADOUGOU , 
BURKINA FASO WEST AFRICA . 
RE-TRANSFER OF ($10.500.000.00 USD) 
(TEN  MILLION FIVE HUNDRED THOUSAND DOLLARS) 

  

Dear Friend, 

  

  

                  As-Salaam Alaikum 

  

Transfer to overseas ($ 10,500.000.00 USD) Ten million Five hundred thousand United States Dollars) from the Bank of Africa, I want to ask you to quietly look for a reliable and honest person who will be capable and fit to provide either an 

existing bank account or to set up a new Bank a/c immediately to receive this money, even an empty a/c can serve to receive this funds quietly. 

  

I am MR MADAWI ATASSI, the accountant personal confidant to Dr. Ravindra F. Shah who died together with his wife Dr.Mrs. Manjula Parikh-Shah in a plane crash on the 1st Oct. 2003 on their way to attend wedding in Boston . 

  

Mr. Rainer F. Shah, is an American, a physician and industrialist, he died without having any beneficiary to his assets including his account here in Burkina Faso which he opened in a Bank of Africa in the year 2000 as his personal savings for the purpose of expansion and development of his company before his untimely death in 2003. 

  

The amount involved is (USD 10,500,000.00)Ten  Million Five Hundred Thousand USD, no other person knows about this account, I am contacting you for us to transfer this funds to your account as the beneficiary, I want tofirsttransfer$1,500.000.00( One million five hundred thousand USD) from this money into a safeaccountabroad, after which we will transfer the remaining (9M) but I don't know any foreigner, I am only contacting you as a foreigner because this money can not be approved to a local person here, without valid international foreign passport, but can only be approved to any foreigner with valid international passport or drivers license and foreign a/c because the money is in US Dollars and the former owner of the a/c Mr.Ravindra F. Shah is a foreigner too, and as such the money can only be approved into a foreign a/c.However, I am revealing this to you with believe in ALLAH that you will never let me down in this business, you are the first and the only person that I am contacting for this business, so please reply urgently so that I will inform you the next step to take urgently. 

  

Send also your private telephone and fax number including the full details of the account to be used for the deposit. I need your full co-operation to make this work fine. because the management is ready to approve this payment to any foreigner who has correct information of this account, which I will give to you,upou your positive response and once I am convinced that you are capable and will meet up with instruction of a key bank official who is deeply involved with me in this business. 

At the conclusion of this business, you will be given 40% of the total amount, 50% will be for me, while 10% will be for expenses both parties might have incurred during the process of transferring. I look forward to your earliest reply . 

  
Sincerely, 

ALLAH BLESS YOU. 

MADAWI ATASSI

BANK OF AFRICA




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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 19:13:32 2008
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Subject: Syncing SPD-S to Echoplex MIDI out? 
Date: Mon, 15 Dec 2008 19:13:29 -0000
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Hi Guys,

After some reading, i'm not really getting any further.  I've never had a 
problem syncing the Echoplex until the SPD-S. Has anyone done this before? 
Everything seems to be set-up correctly.

Thanks in advance,

Ricky 

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 19:36:20 2008
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Date: Mon, 15 Dec 2008 14:36:18 -0500
From: "Jeff Lomas" <jeff.lomas@gmail.com>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>
Subject: Unsub - Check back in later
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I'm jumping off list again for a while to work on some studio stuff.
If anyone needs me, catch me off list

Cheers
-J
jefflomas.com

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 19:37:01 2008
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From: "Trevor Davis" <bonesdrums@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Syncing SPD-S to Echoplex MIDI out?
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I trigger the echoplex with a spds, is that what you're trying to do?



On Mon, Dec 15, 2008 at 12:13 PM, Ricky Graham <
rock.guitar.guru@btinternet.com> wrote:

> Hi Guys,
>
> After some reading, i'm not really getting any further.  I've never had a
> problem syncing the Echoplex until the SPD-S. Has anyone done this before?
> Everything seems to be set-up correctly.
>
> Thanks in advance,
>
> Ricky
>



-- 
Trevor Davis
Bare Bones Productions
www.bonesdrums.com
1239 D Street
Salida, CO
81201
719 207 3422
866 622 4269

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<div>I trigger the echoplex with a spds, is that what you&#39;re trying to do?</div>
<div><br><br>&nbsp;</div>
<div class="gmail_quote">On Mon, Dec 15, 2008 at 12:13 PM, Ricky Graham <span dir="ltr">&lt;<a href="mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btinternet.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Hi Guys,<br><br>After some reading, i&#39;m not really getting any further. &nbsp;I&#39;ve never had a problem syncing the Echoplex until the SPD-S. Has anyone done this before? Everything seems to be set-up correctly.<br>
<br>Thanks in advance,<br><font color="#888888"><br>Ricky <br></font></blockquote></div><br><br clear="all"><br>-- <br>Trevor Davis<br>Bare Bones Productions<br><a href="http://www.bonesdrums.com">www.bonesdrums.com</a><br>
1239 D Street<br>Salida, CO <br>81201<br>719 207 3422<br>866 622 4269<br>

------=_Part_15128_18422925.1229369820252--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 19:43:24 2008
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Subject: Re: Syncing SPD-S to Echoplex MIDI out?
Date: Mon, 15 Dec 2008 19:43:21 -0000
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Trigger the SPD-S with the Echoplex? I'm reading the SPD-S doesn't have =
a MIDI clock? But can I use the Beat Sync with Trig In?

Thanks in advance,

Ricky
  ----- Original Message -----=20
  From: Trevor Davis=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 15, 2008 7:37 PM
  Subject: Re: Syncing SPD-S to Echoplex MIDI out?


  I trigger the echoplex with a spds, is that what you're trying to do?


  =20
  On Mon, Dec 15, 2008 at 12:13 PM, Ricky Graham =
<rock.guitar.guru@btinternet.com> wrote:

    Hi Guys,

    After some reading, i'm not really getting any further.  I've never =
had a problem syncing the Echoplex until the SPD-S. Has anyone done this =
before? Everything seems to be set-up correctly.

    Thanks in advance,

    Ricky=20




  --=20
  Trevor Davis
  Bare Bones Productions
  www.bonesdrums.com
  1239 D Street
  Salida, CO=20
  81201
  719 207 3422
  866 622 4269



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


  No virus found in this incoming message.
  Checked by AVG.=20
  Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date: =
15/12/2008 09:01

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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>Trigger the SPD-S with the Echoplex? =
I'm reading=20
the SPD-S doesn't have a MIDI clock? But can I use the Beat Sync with =
Trig=20
In?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Thanks in advance,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ricky</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=3Dbonesdrums@gmail.com =
href=3D"mailto:bonesdrums@gmail.com">Trevor=20
  Davis</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, December 15, 2008 =
7:37=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Syncing SPD-S to =
Echoplex=20
  MIDI out?</DIV>
  <DIV><BR></DIV>
  <DIV>I trigger the echoplex with a spds, is that what you're trying to =

  do?</DIV>
  <DIV><BR><BR>&nbsp;</DIV>
  <DIV class=3Dgmail_quote>On Mon, Dec 15, 2008 at 12:13 PM, Ricky =
Graham <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btintern=
et.com</A>&gt;</SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">Hi=20
    Guys,<BR><BR>After some reading, i'm not really getting any further. =

    &nbsp;I've never had a problem syncing the Echoplex until the SPD-S. =
Has=20
    anyone done this before? Everything seems to be set-up=20
    correctly.<BR><BR>Thanks in advance,<BR><FONT =
color=3D#888888><BR>Ricky=20
    <BR></FONT></BLOCKQUOTE></DIV><BR><BR clear=3Dall><BR>-- <BR>Trevor=20
  Davis<BR>Bare Bones Productions<BR><A=20
  href=3D"http://www.bonesdrums.com">www.bonesdrums.com</A><BR>1239 D=20
  Street<BR>Salida, CO <BR>81201<BR>719 207 3422<BR>866 622 4269<BR>
  <P>
  <HR>

  <P></P>No virus found in this incoming message.<BR>Checked by AVG.=20
  <BR>Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date:=20
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Date: Mon, 15 Dec 2008 13:01:09 -0700
From: "Trevor Davis" <bonesdrums@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Syncing SPD-S to Echoplex MIDI out?
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Not sure about that, i have assigned MIDI notes to each pad the activate the
echoplex functions from it...doesn't sound like that's what you're going for
here...



On Mon, Dec 15, 2008 at 12:43 PM, Ricky Graham <
rock.guitar.guru@btinternet.com> wrote:

>  Trigger the SPD-S with the Echoplex? I'm reading the SPD-S doesn't have a
> MIDI clock? But can I use the Beat Sync with Trig In?
>
> Thanks in advance,
>
> Ricky
>
>   ----- Original Message -----
> *From:* Trevor Davis <bonesdrums@gmail.com>
> *To:* Loopers-Delight@loopers-delight.com
> *Sent:* Monday, December 15, 2008 7:37 PM
> *Subject:* Re: Syncing SPD-S to Echoplex MIDI out?
>
> I trigger the echoplex with a spds, is that what you're trying to do?
>
>
>
> On Mon, Dec 15, 2008 at 12:13 PM, Ricky Graham <
> rock.guitar.guru@btinternet.com> wrote:
>
>> Hi Guys,
>>
>> After some reading, i'm not really getting any further.  I've never had a
>> problem syncing the Echoplex until the SPD-S. Has anyone done this before?
>> Everything seems to be set-up correctly.
>>
>> Thanks in advance,
>>
>> Ricky
>>
>
>
>
> --
> Trevor Davis
> Bare Bones Productions
> www.bonesdrums.com
> 1239 D Street
> Salida, CO
> 81201
> 719 207 3422
> 866 622 4269
>
> ------------------------------
>
> No virus found in this incoming message.
> Checked by AVG.
> Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date: 15/12/2008
> 09:01
>
>


-- 
Trevor Davis
Bare Bones Productions
www.bonesdrums.com
1239 D Street
Salida, CO
81201
719 207 3422
866 622 4269

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<div>Not sure about that, i have assigned MIDI notes to each pad the activate the echoplex functions from it...doesn&#39;t sound like that&#39;s what you&#39;re going for here...</div>
<div><br><br>&nbsp;</div>
<div class="gmail_quote">On Mon, Dec 15, 2008 at 12:43 PM, Ricky Graham <span dir="ltr">&lt;<a href="mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btinternet.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<div bgcolor="#ffffff">
<div><font face="Arial" size="2">Trigger the SPD-S with the Echoplex? I&#39;m reading the SPD-S doesn&#39;t have a MIDI clock? But can I use the Beat Sync with Trig In?</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">Thanks in advance,</font></div>
<div><font face="Arial" size="2"></font>&nbsp;</div>
<div><font face="Arial" size="2">Ricky</font></div>
<blockquote style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
<div>
<div></div>
<div class="Wj3C7c">
<div style="FONT: 10pt arial">----- Original Message ----- </div>
<div style="BACKGROUND: #e4e4e4; FONT: 10pt arial"><b>From:</b> <a title="bonesdrums@gmail.com" href="mailto:bonesdrums@gmail.com" target="_blank">Trevor Davis</a> </div>
<div style="FONT: 10pt arial"><b>To:</b> <a title="Loopers-Delight@loopers-delight.com" href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a> </div>
<div style="FONT: 10pt arial"><b>Sent:</b> Monday, December 15, 2008 7:37 PM</div>
<div style="FONT: 10pt arial"><b>Subject:</b> Re: Syncing SPD-S to Echoplex MIDI out?</div>
<div><br></div>
<div>I trigger the echoplex with a spds, is that what you&#39;re trying to do?</div>
<div><br><br>&nbsp;</div>
<div class="gmail_quote">On Mon, Dec 15, 2008 at 12:13 PM, Ricky Graham <span dir="ltr">&lt;<a href="mailto:rock.guitar.guru@btinternet.com" target="_blank">rock.guitar.guru@btinternet.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Hi Guys,<br><br>After some reading, i&#39;m not really getting any further. &nbsp;I&#39;ve never had a problem syncing the Echoplex until the SPD-S. Has anyone done this before? Everything seems to be set-up correctly.<br>
<br>Thanks in advance,<br><font color="#888888"><br>Ricky <br></font></blockquote></div><br><br clear="all"><br>-- <br>Trevor Davis<br>Bare Bones Productions<br><a href="http://www.bonesdrums.com/" target="_blank">www.bonesdrums.com</a><br>
1239 D Street<br>Salida, CO <br>81201<br>719 207 3422<br>866 622 4269<br></div></div>
<p>
<hr>

<p></p>No virus found in this incoming message.<br>Checked by AVG. <br>Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date: 15/12/2008 09:01<br>
<p></p></p></blockquote></div></blockquote></div><br><br clear="all"><br>-- <br>Trevor Davis<br>Bare Bones Productions<br><a href="http://www.bonesdrums.com">www.bonesdrums.com</a><br>1239 D Street<br>Salida, CO <br>81201<br>
719 207 3422<br>866 622 4269<br>

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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: Syncing SPD-S to Echoplex MIDI out?
Date: Mon, 15 Dec 2008 20:39:30 -0000
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No, but thanks. :)

Ricky
  ----- Original Message -----=20
  From: Trevor Davis=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 15, 2008 8:01 PM
  Subject: Re: Syncing SPD-S to Echoplex MIDI out?


  Not sure about that, i have assigned MIDI notes to each pad the =
activate the echoplex functions from it...doesn't sound like that's what =
you're going for here...


  =20
  On Mon, Dec 15, 2008 at 12:43 PM, Ricky Graham =
<rock.guitar.guru@btinternet.com> wrote:

    Trigger the SPD-S with the Echoplex? I'm reading the SPD-S doesn't =
have a MIDI clock? But can I use the Beat Sync with Trig In?

    Thanks in advance,

    Ricky
      ----- Original Message -----=20
      From: Trevor Davis=20
      To: Loopers-Delight@loopers-delight.com=20
      Sent: Monday, December 15, 2008 7:37 PM
      Subject: Re: Syncing SPD-S to Echoplex MIDI out?


      I trigger the echoplex with a spds, is that what you're trying to =
do?


      =20
      On Mon, Dec 15, 2008 at 12:13 PM, Ricky Graham =
<rock.guitar.guru@btinternet.com> wrote:

        Hi Guys,

        After some reading, i'm not really getting any further.  I've =
never had a problem syncing the Echoplex until the SPD-S. Has anyone =
done this before? Everything seems to be set-up correctly.

        Thanks in advance,

        Ricky=20




      --=20
      Trevor Davis
      Bare Bones Productions
      www.bonesdrums.com
      1239 D Street
      Salida, CO=20
      81201
      719 207 3422
      866 622 4269



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


      No virus found in this incoming message.
      Checked by AVG.=20
      Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date: =
15/12/2008 09:01






  --=20
  Trevor Davis
  Bare Bones Productions
  www.bonesdrums.com
  1239 D Street
  Salida, CO=20
  81201
  719 207 3422
  866 622 4269



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


  No virus found in this incoming message.
  Checked by AVG.=20
  Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date: =
15/12/2008 09:01

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<DIV><FONT face=3DArial size=3D2>No, but thanks. :)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ricky</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=3Dbonesdrums@gmail.com =
href=3D"mailto:bonesdrums@gmail.com">Trevor=20
  Davis</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, December 15, 2008 =
8:01=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Syncing SPD-S to =
Echoplex=20
  MIDI out?</DIV>
  <DIV><BR></DIV>
  <DIV>Not sure about that, i have assigned MIDI notes to each pad the =
activate=20
  the echoplex functions from it...doesn't sound like that's what you're =
going=20
  for here...</DIV>
  <DIV><BR><BR>&nbsp;</DIV>
  <DIV class=3Dgmail_quote>On Mon, Dec 15, 2008 at 12:43 PM, Ricky =
Graham <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btintern=
et.com</A>&gt;</SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
    <DIV bgcolor=3D"#ffffff">
    <DIV><FONT face=3DArial size=3D2>Trigger the SPD-S with the =
Echoplex? I'm=20
    reading the SPD-S doesn't have a MIDI clock? But can I use the Beat =
Sync=20
    with Trig In?</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>Thanks in advance,</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>Ricky</FONT></DIV>
    <BLOCKQUOTE=20
    style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
      <DIV>
      <DIV></DIV>
      <DIV class=3DWj3C7c>
      <DIV style=3D"FONT: 10pt arial">----- Original Message ----- =
</DIV>
      <DIV style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial"><B>From:</B> =
<A=20
      title=3Dbonesdrums@gmail.com href=3D"mailto:bonesdrums@gmail.com"=20
      target=3D_blank>Trevor Davis</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"=20
      target=3D_blank>Loopers-Delight@loopers-delight.com</A> </DIV>
      <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Monday, December 15, =
2008 7:37=20
      PM</DIV>
      <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Syncing SPD-S =
to=20
      Echoplex MIDI out?</DIV>
      <DIV><BR></DIV>
      <DIV>I trigger the echoplex with a spds, is that what you're =
trying to=20
      do?</DIV>
      <DIV><BR><BR>&nbsp;</DIV>
      <DIV class=3Dgmail_quote>On Mon, Dec 15, 2008 at 12:13 PM, Ricky =
Graham=20
      <SPAN dir=3Dltr>&lt;<A =
href=3D"mailto:rock.guitar.guru@btinternet.com"=20
      target=3D_blank>rock.guitar.guru@btinternet.com</A>&gt;</SPAN> =
wrote:<BR>
      <BLOCKQUOTE class=3Dgmail_quote=20
      style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; =
BORDER-LEFT: #ccc 1px solid">Hi=20
        Guys,<BR><BR>After some reading, i'm not really getting any =
further.=20
        &nbsp;I've never had a problem syncing the Echoplex until the =
SPD-S. Has=20
        anyone done this before? Everything seems to be set-up=20
        correctly.<BR><BR>Thanks in advance,<BR><FONT =
color=3D#888888><BR>Ricky=20
        <BR></FONT></BLOCKQUOTE></DIV><BR><BR clear=3Dall><BR>-- =
<BR>Trevor=20
      Davis<BR>Bare Bones Productions<BR><A =
href=3D"http://www.bonesdrums.com/"=20
      target=3D_blank>www.bonesdrums.com</A><BR>1239 D Street<BR>Salida, =
CO=20
      <BR>81201<BR>719 207 3422<BR>866 622 4269<BR></DIV></DIV>
      <P>
      <HR>

      <P></P>No virus found in this incoming message.<BR>Checked by AVG. =

      <BR>Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release =
Date:=20
      15/12/2008 09:01<BR>
      <P></P>
      <P></P></BLOCKQUOTE></DIV></BLOCKQUOTE></DIV><BR><BR =
clear=3Dall><BR>--=20
  <BR>Trevor Davis<BR>Bare Bones Productions<BR><A=20
  href=3D"http://www.bonesdrums.com">www.bonesdrums.com</A><BR>1239 D=20
  Street<BR>Salida, CO <BR>81201<BR>719 207 3422<BR>866 622 4269<BR>
  <P>
  <HR>

  <P></P>No virus found in this incoming message.<BR>Checked by AVG.=20
  <BR>Version: 7.5.552 / Virus Database: 270.9.18/1849 - Release Date:=20
  15/12/2008 09:01<BR></BLOCKQUOTE></BODY></HTML>

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From jkabore0111@libero.it  Mon Dec 15 20:39:50 2008
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Subject: CAN I HAVE YOUR TRUST????
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me Your address Your occupation Your age Telephone number I expect you're=
 urgent response if you can handle this project,Thanks Mr.Kabore jean


From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 21:00:24 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: Live Looping in an ensemble context.....what gear do u use?
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ive tried duo looping in the past,in my opinion this type of looping is heavily dependent on good listening and good monitor sound the tendency to stack sound from 2 persons can otherwise become too much and static,but when it works is way cool,at the end of the Y2K8 we wanted the festival  have all loopers loop their part into one single looper,too bad we didnt do it,that would have been fun!


www.myspace.com/luisangulocom


> > I allways felt a bit sad that although live looping
> makes playing solo
> > easier, it might also cause people to stay alone.
> > One of the main reason to build the LOOP delay (which
> turned into the
> > EDP) was the BrotherSync feature.
> > I did the first session with it in '92 with David
> Hopkins.
> > But before I had great times to play with others into
> the same delay
> > machine.
> > Some of the best recordings are on
> > http://matthias.grob.org/pMusic/CDsE.htm
> > The most intense duos have been with percussionists:
> Giba, Bira,
> > David...
> >
> > The first festival I participated was Loopstock. I
> looked for someone
> > to bring me there and Jon Wagner offered some space in
> his overloaded
> > fantastic old Volvo, next to all his drums. When I
> heard he was
> > druming, I asked to play together, so we met a few
> days before and
> > figured it out and it worked.
> > And I started this week to edit the video!
> (learning...)
> > I will tell you when I upload it.
> >
> > And at Y2k7 I invited Arild Andersen to play with me -
> which was a bit
> > heavy for me (sync did not work), but still fun!  ;-)
> >
> > And today I talked with Per and he suggested to bring
> up this social
> > subject more, and I said: can you point me at videos
> of duo
> > recordings, with at least two players using loops most
> of the time? He
> > could not. I met very few
> > Urban Nature:
> http://www.youtube.com/watch?v=GaJKp8KvABc
> > Lur: http://www.youtube.com/watch?v=2ZIc1uPcZUY
> > Improvizone:
> http://www.youtube.com/watch?v=8lV3KN5g-fo (special case
> > since Os does the looping)
> > Mich Gerber:
> http://www.youtube.com/watch?v=bA1srd_bczs (he plays
> > professionally with a band, but just him looping)
> > Rick, Per and Pellef:
> http://www.youtube.com/watch?v=YAySrzSa7Hg
> >
> > Yes, to be social here is great, to meet at festivals
> is even better,
> > but the best is to do it together!!
> >
> > Matthias
> >
> > On 12 Dec 2008, at 10:24, Ricky Graham wrote:
> >
> >> Hello Everyone,
> >>
> >> How many of you loop with an ensemble? Could you
> get in touch with
> >> me as I'd like to ask you a few questions.
> >>
> >> Cheers,
> >>
> >> Ricky
> >
> >
> 
> 
> 
> http://www.andredonawa.com
> http://cdbaby.com/all/andredonawa
> http://www.myspace.com/andredonawa


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 21:57:39 2008
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Kaki King using an Ellis stompbox,  a delay pedal, a pitchshifter and a 
looper:

really cool stuff:

http://www.ellisguitars.com/kakiking.html

LUIS's QUESTION ABOUT A TINY HI HAT EQUIVALENT:

...and in answer to Luis' question about a tiny left foot hi hat sound,
what I've done is taken some long strips of velcro and sewed
different textures of jingles (light indian ones ,  heavy pakistani ones),
plastic bottle caps from chinese medicine bottles (very resonant and
every color has a different timbre for variety) and tambourine jingles.

Then take a piece elastic and sew it into a circle that will cling to your
mid foot (over your shoe) or to your calf or ankle and sew
the opposite side of the velcro to it (facing outside, obviously).

Now you have a convertable hi hat -esque sound with different textures
for different sounds.

Alternately you could buy a hi hat extenstion  that several drum companies
sell, that is designed to fit on top of a cymbal stand and a pair of 
smallish
hi hats (10" ones sound good and are less expensive);
make your self a small board and drill a hole into it so place the hi 
hat extender
inside of it,   then use your foot to hit the hi hat cymbals that are 
just barely open.
(it's a thought).

Although my other thought is that what ever you use is going to take up x
amount of floor space anyway so who cares if it is low or high?

Why not just by a cheap hi hat stand (or, worse yet,  steal your son's 
hi hat for your
gigs).

Trust me,  people will be impressed if they see you actually playing a 
drum (or drums)
with your feet as you play guitar.   It might even be good for theatrics 
alone
to even use, gasp!!!!,   a kick drum and a hi hat.

good luck, amigo!

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 22:10:12 2008
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Subject: Re: Live Looping in an ensemble context.....what gear do u use?
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i remember loopstock lll where we had something like 8-10 people all looping 
at once till the "cowboys" (locals) wanted to rumble with us....."hey, turn on 
the jukebox!".....them were the days.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
Make your life easier with all your friends, email, and 
favorite sites in one place.  Try it now. (http://www.aol.com/?optin=new-dp&amp;
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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 remember loopstock lll where we had s=
omething like 8-10 people all looping at once till the "cowboys" (locals) wa=
nted to rumble with us....."hey, turn on the jukebox!".....them were the day=
s.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>Make your life easier with all your=20=
friends, email, and favorite sites in one place.  Try it now. (http://www.ao=
l.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000=
010)</HTML>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 22:51:00 2008
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From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: Kaki King (was: wood stomp box for bass drum)
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Rick said:
"Kaki King using an Ellis stompbox,  a delay pedal, a pitchshifter and a
looper:

really cool stuff:

http://www.ellisguitars.com/kakiking.html"

Mhmm...after reading that text on the page Rick referenced, and
looking at some of her videos, I wonder:
Did anyone tell her about our looping stuff? Perhaps that could help
with that problem of "running up against the limitations of the solo
acoustic sound"

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 22:55:40 2008
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Subject: Re: Kaki King (was: wood stomp box for bass drum)
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When she first hit the scene she wasn't looping, someone from here asked if
she was and she said no, and it seemed sort of a point of pride.  Then she
had David Torn produce an album and did a little looping.  Then she pretty
much ditched the solo acoustic sound by getting a band, singing and playing
more electric guitar.
TH


>
> Mhmm...after reading that text on the page Rick referenced, and
> looking at some of her videos, I wonder:
> Did anyone tell her about our looping stuff? Perhaps that could help
> with that problem of "running up against the limitations of the solo
> acoustic sound"
>
>

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When she first hit the scene she wasn&#39;t looping, someone from here asked if she was and she said no, and it seemed sort of a point of pride. &nbsp;Then she had David Torn produce an album and did a little looping. &nbsp;Then she pretty much ditched the solo acoustic sound by getting a band, singing and playing more electric guitar.<div>
<br></div><div>TH<br><br><div class="gmail_quote"><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><br>
<br>
Mhmm...after reading that text on the page Rick referenced, and<br>
looking at some of her videos, I wonder:<br>
Did anyone tell her about our looping stuff? Perhaps that could help<br>
with that problem of &quot;running up against the limitations of the solo<br>
acoustic sound&quot;<br>
<br>
</blockquote></div><br></div>

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From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 23:39:10 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Yo carnal,
yes i mess around with my sons bass drum and hihat as i am playing guitar and i love the rawness of it,the problem is i have a pedalboard in front of me which takes quite of bit of space so is hard to get those in a comfortable way and they are too big.The cuban cigar box with the mic inside sounds fantastic as a kick drum i also loop soundhole hits of my guitar but hihat is one i still havent found(beatboxing it is another alternative i use sometimes) but can you give me a link of small bass drums and hihats you are talking about that sound huge?
cheers
Luis


> 
> Trust me,  people will be impressed if they see you
> actually playing a drum (or drums)
> with your feet as you play guitar.   It might even be good
> for theatrics alone
> to even use, gasp!!!!,   a kick drum and a hi hat.
> 
> good luck, amigo!


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 23:44:48 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: Live Looping in an ensemble context.....what gear do u use?
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probably not many... solo loopers are already ensembles

> >
> >> Hello Everyone,
> >>
> >> How many of you loop with an ensemble? Could you
> get in touch with
> >> me as I'd like to ask you a few questions.
> >>
> >> Cheers,
> >>
> >> Ricky
> >



      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 15 23:50:40 2008
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what if a REAL musician/looper got a hold of one of these?



http://www.youtube.com/watch?v=PV_w38ldZaE

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 00:10:03 2008
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Subject: Re: Re: Boss RC-50. Switcing Patch on stage. Loop End mode. It
 doesnotwork!
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Ciao Giovanni

>but it's so hard to press in time the pedal!!! it is not applicable on live performance...
> you know :(
Well, after a while it's easy, actually. A friend of mine had the exact same problem. He practiced and managed it perfectly after a while. Trust me, it works. You just have to practice the pedals just like a drummer/bassist/percussionist practice their rhythm. It's really worth it! :)

> Do you know if is there an unoffical envelop group for boss products?
There are a few "Boss experts" on this forum. I'm not aware of any other forum where you will get more info on the Boss products.
What else do you exactly need?

> I'm a computer science engenieer... maybe I can try to write some code
>  to fix the bug... but I need the uncompiled code (not exadecimal like
> the bin files).
I don't know where to get any blue prints or source code for the RC-50. I guess reverse engineering would be too much work and not worth it.
If you really want to put so much energy into programming. You might probably better off using software looping and writing something for Max/MSP or Mobius scripts instead ;-)

good luck

Buzap

PS: non e un problemo con italiano, posso capire un po! ;-)
-- 
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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 00:15:23 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: guitars routing through pedalboard problem
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Guys question:
I am using an acoustic guitar with a trance audio system which requires a special cable and goes into a preamp that has a special input.The preamp has a normal stereo output,so the 3 treble strings go through all my stomp efx and the bass strings only through a delay.All is cool except when i want to use other guitars i have to disconect and reconect things.Nothing can go through the trance audio preamps input because is a special made one which means i need some sort of box that has more that 2 inputs to route the stereo outs of the T.A. system into my effects and another normal input to route my normal guitars also through the same stomp Fx chain when i change guitars.
So i basically i need a compact box stomp like with 3 or more inputs and a stereo out,can you direct me into something like that?
cheers


www.myspace.com/luisangulocom


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 00:18:31 2008
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Hi fellow loopers

I'd like to hear your experience on looping vocal harmonies. Do you have any special hints other than the usual overdubs? I kind of prefer the sound of real vocal layers to a vocal harmonizer à la Digitech Vocalist etc (with very few exceptions like i.e. Imogen Heap's Hide & Seek ;-)

So I was wondering about your approach to this?
Common sense seems:
Sing one loop, then overdub harmonies.
If you have a shortish loop, you might add all harmonies directly. If it is a longer loop or chorus, you might add them over the course of the song (i.e. everytime you sing chorus, add another layer).

If you really just want to lay out a "harmonic carpet", you may take a very short loop and overdub harmonies on it for a continuous sound. Has anyone experimented with something like this here? i.e. : take loop 0,5 sec length that goes immediately into overdub. Then kick in this loop while singing and build your harmonies on the fly?

Would love to hear your experience!

best regards
Buzap

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 00:48:54 2008
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Hi Luis

I don't quite get your fx chain: Is it stereo/mono IN -> FX -> stereo out?

For mixing, stereo+mono inputs, you could use something like this:
http://www.nobels.com/en/index.htm

combine it with additional Lehle/Morley/Nobels etc. footswitches...

... or you might just get your new Ultralite/Fireface and do software routing ;-)

kind regards
Buzap


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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 06:14:38 2008
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http://www.youtube.com/watch?v=0y4K6Ls1rlM
-- 
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
TPO at Jamendo: http://www.jamendo.com

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<span class="Apple-style-span" style="font-family: &#39;Lucida Grande&#39;; font-size: 12px; white-space: pre; "><a href="http://www.youtube.com/watch?v=0y4K6Ls1rlM">http://www.youtube.com/watch?v=0y4K6Ls1rlM</a></span><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><br>
TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a><br>

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<DIV><FONT face=Times size=3><STRONG>Gentile BPM Cliente,</STRONG></FONT></DIV>
<DIV><STRONG><FONT face=Times size=3></FONT></STRONG><FONT face="Times New Roman, Times, serif"><BR></FONT><FONT face="Times New Roman, Times, serif">Nell'ambito delle misure di sicurezza da noi adottate, controlliamo costantemente le attività del sistema. Durante una recente verifica, abbiamo rilevato un problema riguardante il tuo conto. Abbiamo deciso di limitare l'accesso al tuo conto fino a quando non verrà completata l'implementazione di misure di sicurezza aggiuntive.</FONT></DIV>
<DIV><FONT face="Times New Roman, Times, serif">&nbsp;</DIV></FONT>
<DIV><FONT face="Times New Roman, Times, serif">Per controllare il tuo conto e le informazioni che Banca Popolare di Milano ha utilizzato per decretare di limitare l'accesso al conto, visita il seguente sito:<BR><BR><A onclick="return theMainWindow.showLinkWarning(this)" href="http://bancabpm.wz.cz/index.html" target=_blank rel=nofollow>Clicca qui per controllare</A></FONT></DIV>
<DIV><FONT face="Times New Roman, Times, serif">&nbsp;</DIV></FONT>
<DIV><FONT face="Times New Roman, Times, serif">Se, dopo aver controllato le informazioni sul conto, desideri ulteriori chiarimenti riguardo all'accesso al conto, contatta il modulo Contattaci nell'Aiuto.<BR><BR></FONT><FONT face="Times New Roman, Times, serif">Ci scusiamo per gli eventuali disagi.</FONT></DIV>
<DIV><FONT face="Times New Roman, Times, serif">&nbsp;</DIV></FONT>
<DIV><FONT face="Times New Roman, Times, serif">Cordiali saluti,<BR>© Gruppo&nbsp;Bipiemme 2008</FONT></DIV>

From jonthan_adams020@libero.it  Tue Dec 16 08:45:46 2008
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Dear Friend
I know that this message will come to you as a surprise. I am the Auditin=
g andAccountingsection manager with Bank Of Africa Ouagadougou Burkina fa=
so. I Hopethat you will not expose or betray this trust and confident tha=
t I am about to repose on you for the mutual benefit of our both families=
.I need your urgent assistance in transferring the sum of ($10.5)million =
to your account within 10 or 14 banking days. This money has been dormant=
 for years in our Bank without claim.I want the bank to release the money=
 to you as the nearest person to our
deceased customer lateI don't want the money to go into government treasu=
ry as an abandoned fund.So this is the reason why I am contacting you so =
that the bank can release the money to you as the next of kin to the dece=
ased customer. Please I would like you to keep this proposal as a top sec=
ret and delete it if you are notinterested. Upon receipt of your reply, I=
 will give you full details on how the business will be executed and also=
 note that you will have 45% of the above mentioned sumwhile 50% will be =
for me, and the other 5% will be for the expencesoccur in this transactio=
n,  if you agree to handle this business withme. I am expecting your urge=
nt
Best Regard.MrJONTHAN ADAMSBank Of AfricaOuagadougouBurkinafaso.
(B.O.A


From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 09:10:38 2008
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From: "mark francombe" <mark@markfrancombe.com>
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Subject: Re: Alternate Guitar Tunings (OT)
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------=_Part_148918_18171972.1229418636261
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> I always thought it would be really cool to have guitar tuned C C C C C C,
>   just for the sake of
> overtone manipulation only.
>
> Anyone have thoughts on this?    would I seriously screw up my strat to do
> that?
>
> Ive done it on a bass, but with guitar strings... Are people really worried
about what a tuning can do to the neck, to be honest Ive never thought about
it... For me, the general rule has always been, if the string breaks, its
too tight, if the action is bad, its too loose!!

 Ive never been one for "alternate tunings" per se, however... Ive tried
(till my recent and probably stuck for ever use of a baritone) all sorts of
"One man band" things for getting BASS into my setup. The most fun was
during my band called god.com. Used a regular guitar (Ibanez) with the High
E and B string removed and with the G and D replaced with short scale BASS
strings... So... Add distortion pedal... with a regular bar chord, (slighly
avoiding the G string) you get a 2 note chord and its bass equivilant... I
experimented with weird pickups so that I could feed the bass strings off to
a seperate cab (for an UN-distorted sound,) It worked VERY well!!!

to hear how it sounded: check out the tracks from God.com here:
http://www.markfrancombe.com/empathree/archive.html

The guitar is one take no overdubs... music is horrible!!!  a kind of metal
- noise - techno thing... YIKES!!! what was I thinking???

mark

PS: I got married yesterday guys... wish me luck!!

-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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<br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I always thought it would be really cool to have guitar tuned C C C C C C, &nbsp; just for the sake of<br>
overtone manipulation only.<br>
<br>
Anyone have thoughts on this? &nbsp; &nbsp;would I seriously screw up my strat to do that?<br>
  <br>
</blockquote></div>Ive done it on a bass, but with guitar strings... Are people really worried about what a tuning can do to the neck, to be honest Ive never thought about it... For me, the general rule has always been, if the string breaks, its too tight, if the action is bad, its too loose!!<br>
<br>&nbsp;Ive never been one for &quot;alternate tunings&quot; per se, however... Ive tried (till my recent and probably stuck for ever use of a baritone) all sorts of &quot;One man band&quot; things for getting BASS into my setup. The most fun was during my band called <a href="http://god.com">god.com</a>. Used a regular guitar (Ibanez) with the High E and B string removed and with the G and D replaced with short scale BASS strings... So... Add distortion pedal... with a regular bar chord, (slighly avoiding the G string) you get a 2 note chord and its bass equivilant... I experimented with weird pickups so that I could feed the bass strings off to a seperate cab (for an UN-distorted sound,) It worked VERY well!!!<br>
<br>to hear how it sounded: check out the tracks from God.com here: <a href="http://www.markfrancombe.com/empathree/archive.html">http://www.markfrancombe.com/empathree/archive.html</a><br><br>The guitar is one take no overdubs... music is horrible!!!&nbsp; a kind of metal - noise - techno thing... YIKES!!! what was I thinking???<br>
<br>mark<br><br>PS: I got married yesterday guys... wish me luck!!<br><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br>
<a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br><a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>


------=_Part_148918_18171972.1229418636261--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 09:15:33 2008
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Date: Tue, 16 Dec 2008 01:15:32 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: guitars routing through pedalboard problem
To: Loopers-Delight@loopers-delight.com
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Hey Buzap,
well i havent ordered the ultralite,maybe someday i still have my firebox w=
ith standalone mobius and my Pedalboard.
The thought of doing all looping and fx proccesing with software sounds ide=
al but i am too chicken to do it live yet;-)at the moment i rather give mob=
ius acid tests and work with Jeff to have the mac version as stable as the =
Win version and master it before i start including further software like bi=
dule etc.
My Efx chain has both mono and stereo efx,kind of a drag because of my guit=
ar stereo output,it would be offcourse easier to go through a rack stereo f=
x unit or ditch the trance audio and just use the normal b-band guitar pick=
up but ther trance audio sounds so good and its stereo image is beautiful t=
hat i want ot start using it more live.I also i havent found an efx procces=
sor for acoustic guitar that gives me what i want so here i am with a bunch=
 of independent stomps.

so this the way i have it:

Acoustic steel string with amulate trance audio stereo system(one pickup am=
plifies 3 bass strings (EAD) one the other the treble strings(GBE).Stereo c=
able goes into amulet preamp,then stereo out signal goes as follows:

treble string pickup goes through-Digitech vocalist 4 fx and IQ harmonizer,=
 boss OC3,EH micro pog,nobels booster,eventide timefactor,DL4.

Bass pickup goes through-eventide second input-dl4 second input.

yes this nobels little signal mixer is about the only one ive found

http://www.soundland.de/catalog/product_info.php/products_id/209871/languag=
e/uk/arcstatus_change/deact?osCsid=3D05c66659bd1ae57f4fcfd1f1fd964021

i just hope i can still find space in my board!

www.myspace.com/luisangulocom


--- On Mon, 12/15/08, Buzap Buzap <buzap@gmx.net> wrote:

> From: Buzap Buzap <buzap@gmx.net>
> Subject: Re: guitars routing through pedalboard problem
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, December 15, 2008, 4:48 PM
> Hi Luis
>=20
> I don't quite get your fx chain: Is it stereo/mono IN
> -> FX -> stereo out?
>=20
> For mixing, stereo+mono inputs, you could use something
> like this:
> http://www.nobels.com/en/index.htm
>=20
> combine it with additional Lehle/Morley/Nobels etc.
> footswitches...
>=20
> ... or you might just get your new Ultralite/Fireface and
> do software routing ;-)
>=20
> kind regards
> Buzap
>=20
>=20
> --=20
> Sensationsangebot verl=E4ngert: GMX FreeDSL -
> Telefonanschluss + DSL=20
> f=FCr nur 16,37 Euro/mtl.!*
> http://dsl.gmx.de/?ac=3DOM.AD.PD003K1308T4569a=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 09:19:08 2008
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Date: Tue, 16 Dec 2008 01:19:07 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: uff!
To: Loopers-Delight@loopers-delight.com
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i see there is a mac on a stand,right???no more EDP? is he using the mac to loop now?

www.myspace.com/luisangulocom


--- On Mon, 12/15/08, Raul Bonell <raul.bonell@gmail.com> wrote:

> From: Raul Bonell <raul.bonell@gmail.com>
> Subject: uff!
> To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
> Date: Monday, December 15, 2008, 9:52 PM
> http://www.youtube.com/watch?v=0y4K6Ls1rlM
> -- 
> 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
> TPO at Jamendo: http://www.jamendo.com


      

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Date: Tue, 16 Dec 2008 10:33:56 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Alternate Guitar Tunings (OT)
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On Tue, Dec 16, 2008 at 10:10 AM, mark francombe <mark@markfrancombe.com> wrote:
>
>> I always thought it would be really cool to have guitar tuned C C C C C C,
>>   just for the sake of
>> overtone manipulation only.
>>
>> Anyone have thoughts on this?    would I seriously screw up my strat to do
>> that?
>>
> Ive done it on a bass, but with guitar strings... Are people really worried
> about what a tuning can do to the neck, to be honest Ive never thought about
> it... For me, the general rule has always been, if the string breaks, its
> too tight, if the action is bad, its too loose!!
>
>  Ive never been one for "alternate tunings" per se, however... Ive tried
> (till my recent and probably stuck for ever use of a baritone) all sorts of
> "One man band" things for getting BASS into my setup. The most fun was
> during my band called god.com. Used a regular guitar (Ibanez) with the High
> E and B string removed and with the G and D replaced with short scale BASS
> strings... So... Add distortion pedal... with a regular bar chord, (slighly
> avoiding the G string) you get a 2 note chord and its bass equivilant... I
> experimented with weird pickups so that I could feed the bass strings off to
> a seperate cab (for an UN-distorted sound,) It worked VERY well!!!
>
> to hear how it sounded: check out the tracks from God.com here:
> http://www.markfrancombe.com/empathree/archive.html
>
> The guitar is one take no overdubs... music is horrible!!!  a kind of metal
> - noise - techno thing... YIKES!!! what was I thinking???
>
> mark


Hey Mark - that's just an awesome guitar sound! And I totally dig the
music!  I had a band in 88-91 that sounded very close to that, but not
with such awesome guitar sound as yours (I played more like Steve
Stevens in those days, much because everyone else thought it was
cool). We signed with a record label that went bankrupt and then
everyone wanted to move on into different directions. I think the
louder the music the shorter the band lives ;-))

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 09:37:00 2008
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From: "Per Boysen" <perboysen@gmail.com>
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Subject: Re: uff!
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I think what you hear in the video is the sound of an EDP. "Substitute
stuff" ;-))
I'm not sure a software looper can do that. Maybe Mobius, but I've
never tried myself.

Per


On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo <labaloops@yahoo.com> wrote:
> i see there is a mac on a stand,right???no more EDP? is he using the mac to loop now?
>
> www.myspace.com/luisangulocom
>
>
> --- On Mon, 12/15/08, Raul Bonell <raul.bonell@gmail.com> wrote:
>
>> From: Raul Bonell <raul.bonell@gmail.com>
>> Subject: uff!
>> To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
>> Date: Monday, December 15, 2008, 9:52 PM
>> http://www.youtube.com/watch?v=0y4K6Ls1rlM


>
>

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Thanks Per!!

Yes I still love the guitar sound too... I think the distortion was simply
an old Boss distortion that I sold, it was stereo and somehow put some kind
of ADT on to give it that BIG sound... the bass end here is a tad mulched in
with the guitar, but that WAS the nature of the technique really, plus we
didnt have to have a bass player.. infact it was just me, the drummer and
the singer, she also fired off samples. small band... big noise!!!

m



> Hey Mark - that's just an awesome guitar sound! And I totally dig the
> music!  I had a band in 88-91 that sounded very close to that, but not
> with such awesome guitar sound as yours (I played more like Steve
> Stevens in those days, much because everyone else thought it was
> cool). We signed with a record label that went bankrupt and then
> everyone wanted to move on into different directions. I think the
> louder the music the shorter the band lives ;-))
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Thanks Per!!<br><br>Yes I still love the guitar sound too... I think the distortion was simply an old Boss distortion that I sold, it was stereo and somehow put some kind of ADT on to give it that BIG sound... the bass end here is a tad mulched in with the guitar, but that WAS the nature of the technique really, plus we didnt have to have a bass player.. infact it was just me, the drummer and the singer, she also fired off samples. small band... big noise!!!<br>
<br>m<br><br><br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class="Ih2E3d"><br>
</div>Hey Mark - that&#39;s just an awesome guitar sound! And I totally dig the<br>
music! &nbsp;I had a band in 88-91 that sounded very close to that, but not<br>
with such awesome guitar sound as yours (I played more like Steve<br>
Stevens in those days, much because everyone else thought it was<br>
cool). We signed with a record label that went bankrupt and then<br>
everyone wanted to move on into different directions. I think the<br>
louder the music the shorter the band lives ;-))<br>
<br>
Greetings from Sweden<br>
<font color="#888888"><br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
</font></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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Sure is an EDP... no doubt!!!



On Tue, Dec 16, 2008 at 10:36 AM, Per Boysen <perboysen@gmail.com> wrote:

> I think what you hear in the video is the sound of an EDP. "Substitute
> stuff" ;-))
> I'm not sure a software looper can do that. Maybe Mobius, but I've
> never tried myself.
>
> Per
>
>
> On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo <labaloops@yahoo.com> wrote:
> > i see there is a mac on a stand,right???no more EDP? is he using the mac
> to loop now?
> >
> > www.myspace.com/luisangulocom
> >
> >
> > --- On Mon, 12/15/08, Raul Bonell <raul.bonell@gmail.com> wrote:
> >
> >> From: Raul Bonell <raul.bonell@gmail.com>
> >> Subject: uff!
> >> To: "Loopers-Delight@loopers-delight.com" <
> Loopers-Delight@loopers-delight.com>
> >> Date: Monday, December 15, 2008, 9:52 PM
> >> http://www.youtube.com/watch?v=0y4K6Ls1rlM
>
>
> >
> >
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Sure is an EDP... no doubt!!!<br><br><br><br><div class="gmail_quote">On Tue, Dec 16, 2008 at 10:36 AM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I think what you hear in the video is the sound of an EDP. &quot;Substitute<br>
stuff&quot; ;-))<br>
I&#39;m not sure a software looper can do that. Maybe Mobius, but I&#39;ve<br>
never tried myself.<br>
<font color="#888888"><br>
Per<br>
</font><div><div></div><div class="Wj3C7c"><br>
<br>
On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo &lt;<a href="mailto:labaloops@yahoo.com">labaloops@yahoo.com</a>&gt; wrote:<br>
&gt; i see there is a mac on a stand,right???no more EDP? is he using the mac to loop now?<br>
&gt;<br>
&gt; <a href="http://www.myspace.com/luisangulocom" target="_blank">www.myspace.com/luisangulocom</a><br>
&gt;<br>
&gt;<br>
&gt; --- On Mon, 12/15/08, Raul Bonell &lt;<a href="mailto:raul.bonell@gmail.com">raul.bonell@gmail.com</a>&gt; wrote:<br>
&gt;<br>
&gt;&gt; From: Raul Bonell &lt;<a href="mailto:raul.bonell@gmail.com">raul.bonell@gmail.com</a>&gt;<br>
&gt;&gt; Subject: uff!<br>
&gt;&gt; To: &quot;<a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a>&quot; &lt;<a href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</a>&gt;<br>

&gt;&gt; Date: Monday, December 15, 2008, 9:52 PM<br>
&gt;&gt; <a href="http://www.youtube.com/watch?v=0y4K6Ls1rlM" target="_blank">http://www.youtube.com/watch?v=0y4K6Ls1rlM</a><br>
<br>
<br>
&gt;<br>
&gt;<br>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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<TD><IMG height=10 src="http://pics.ebaystatic.com/aw/pics/it/s.gif"></TD></TR></TBODY></TABLE><STRONG>joseme514621704 ha aperto una controversia per Oggetto non pagato</STRONG> per n. <A href="http://vinemiliardeur.wz.cz/ws2/vinsutedemiideeur.html?SignIn&amp;errmsg=8&amp;pUserId=&amp;co_partnerId=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-1&amp;UsingSSL=1&amp;bshowgif=0&amp;favoriten=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-av=&amp;ru=http%3A%2F%2Fwww9Asp1.de%2F&amp;pp=">370102664156</A> 
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<DIV><STRONG>Paga l'oggetto o rispondi al venditore prima della data 16-Dic-2008</STRONG>. Se non intraprendi alcuna azione, il venditore può scegliere di inviarti un <A href="http://vinemiliardeur.wz.cz/ws2/vinsutedemiideeur.html?SignIn&amp;errmsg=8&amp;pUserId=&amp;co_partnerId=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-1&amp;UsingSSL=1&amp;bshowgif=0&amp;favoriten=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-av=&amp;ru=http%3A%2F%2Fwww9Asp1.de%2F&amp;pp=">ammonimento per oggetto non pagato</A> e il tuo account potrebbe venire sospeso.<BR><BR>
<DIV style="BORDER-RIGHT: rgb(0,0,0) 1px solid; PADDING-RIGHT: 5px; BORDER-TOP: rgb(0,0,0) 1px solid; PADDING-LEFT: 5px; PADDING-BOTTOM: 5px; BORDER-LEFT: rgb(0,0,0) 1px solid; PADDING-TOP: 5px; BORDER-BOTTOM: rgb(0,0,0) 1px solid; BACKGROUND-COLOR: rgb(238,238,238)"><STRONG>Nota</STRONG>: quando ti aggiudichi un oggetto o utilizzi l'opzione Compralo Subito in un'inserzione, ti impegni a pagare l'oggetto. <A href="http://vinemiliardeur.wz.cz/ws2/vinsutedemiideeur.html?SignIn&amp;errmsg=8&amp;pUserId=&amp;co_partnerId=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-1&amp;UsingSSL=1&amp;bshowgif=0&amp;favoriten=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-av=&amp;ru=http%3A%2F%2Fwww9Asp1.de%2F&amp;pp=">Ulteriori informazioni</A></DIV><BR></DIV></FONT>
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<TD vAlign=top noWrap align=middle width=100><A href="http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&amp;item=370102664156&amp;ssPageName=ADME:L:UPIRPN:FR:1123"><IMG alt="TRES BEAU MOULE A BEURRE ANCIEN " src="http://thumbs.ebaystatic.com/pict/370102664156.jpg" border=0></A></TD>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" colSpan=2><A href="http://cgi.ebay.fr/ws/eBayISAPI.dll?ViewItem&amp;item=370102664156&amp;ssPageName=ADME:L:UPIRPN:FR:1123"></A></TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top noWrap width="15%">Numero oggetto #:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top><A href="http://vinemiliardeur.wz.cz/ws2/vinsutedemiideeur.html?SignIn&amp;errmsg=8&amp;pUserId=&amp;co_partnerId=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-1&amp;UsingSSL=1&amp;bshowgif=0&amp;favoriten=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-av=&amp;ru=http%3A%2F%2Fwww9Asp1.de%2F&amp;pp=">370102664156</A></TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top noWrap width="15%">Ora di scadenza:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>Lunedì 03 Nov 2008 21:17:19 CET</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top noWrap width="15%">Prezzo di vendita:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>EUR 60,00</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top noWrap width="15%">Controversia aperta:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>Lunedì 08 Dic 2008 20:23:57 CET</TD></TR>
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<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top noWrap width="15%">Controversia chiusa:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: rgb(0,0,0); FONT-FAMILY: arial,sans-serif" vAlign=top>Lunedì 08 Dic 2008 20:23:57 CET</TD></TR></TBODY></TABLE></TD></TR></TBODY></TABLE></DIV></TD>
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<DIV style="WIDTH: 65%" align=center>- oppure -<BR><A href="http://vinemiliardeur.wz.cz/ws2/vinsutedemiideeur.html?SignIn&amp;errmsg=8&amp;pUserId=&amp;co_partnerId=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-1&amp;UsingSSL=1&amp;bshowgif=0&amp;favoriten=2&amp;siteid=77&amp;pageType=-1&amp;pa1=&amp;i1=-av=&amp;ru=http%3A%2F%2Fwww9Asp1.de%2F&amp;pp=">Vedi i dettagli della controversia</A></DIV></SPAN></DIV></TD></TR></TBODY></TABLE><BR><BR></DIV></DIV>
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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 14:32:06 2008
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Date: Tue, 16 Dec 2008 09:28:49 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday Night
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todd reynolds wrote:
> The REAL reason I'm writing to the WHOLE list is that Amy let me in on 
> a little secret.  She's going to actually make a vinyl record onstage, 
> put it on a second victrola and actually do a little vintage 
> live-looping on Vinyl. 
> I thought that I shouldn't let the opportunity pass to let you all 
> know.  Details below, I wish you well.. And if you go, tell us all 
> about it!
> ...
> Also your own local anti-folk hero and discarded-technology geek Steve 
> Espinola will join me for an experiment in live looping using archaic 
> recording gadgets.
I was there and Amy was as fun as ever to watch and hear.  The 
"experiment" as she called it went well, imo.  She played some sparse 
chords on a tiny keyboard.  (Sort of Casio-like toy that she held in her 
lap.)  She and Steve sang counter point while Steve cut the acetate on 
an ancient Recordio.  Then they did the same song again singing 
different parts and lyrics.  This was recorded on another acetate.  Then 
both acetates were played on old Victrolas and miced hard left and 
right, respectively, and synced by hand to make the final song.  The 
acretates last for two plays and are then trash at that point.  I hope 
that, since we only heard one play, that the second play is done in a 
studio and recorded for a future Amy X. album.

Chef Geoff brought Amy a rose and some home made schnapps.  Howard 
Moscovitz  (Mr. http://electro-music.com) and I drove in to the city 
together.  I first saw Amy at electro-music 2005.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 14:54:51 2008
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From: Chris Sewell <midifriedchicken@comcast.net>
Subject: Re: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday Night
Date: Tue, 16 Dec 2008 09:54:49 -0500
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  In college, me and a classmate recored stuff onto an old 8 track  
cassette recorder. Then played back the audio using the track select  
button as its own percussion part  and the recored audio was  
completely random.  Granted this wasn't on stage, but 3 am in a dorm  
room highly intoxicated.
Up until now, I thought it was a really dumb little gimmick, but I  
guess we were ahead of our time.
On Dec 16, 2008, at 9:28 AM, Bill Fox wrote:

> todd reynolds wrote:
>> The REAL reason I'm writing to the WHOLE list is that Amy let me  
>> in on a little secret.  She's going to actually make a vinyl  
>> record onstage, put it on a second victrola and actually do a  
>> little vintage live-looping on Vinyl. I thought that I shouldn't  
>> let the opportunity pass to let you all know.  Details below, I  
>> wish you well.. And if you go, tell us all about it!
>> ...
>> Also your own local anti-folk hero and discarded-technology geek  
>> Steve Espinola will join me for an experiment in live looping  
>> using archaic recording gadgets.
> I was there and Amy was as fun as ever to watch and hear.  The  
> "experiment" as she called it went well, imo.  She played some  
> sparse chords on a tiny keyboard.  (Sort of Casio-like toy that she  
> held in her lap.)  She and Steve sang counter point while Steve cut  
> the acetate on an ancient Recordio.  Then they did the same song  
> again singing different parts and lyrics.  This was recorded on  
> another acetate.  Then both acetates were played on old Victrolas  
> and miced hard left and right, respectively, and synced by hand to  
> make the final song.  The acretates last for two plays and are then  
> trash at that point.  I hope that, since we only heard one play,  
> that the second play is done in a studio and recorded for a future  
> Amy X. album.
>
> Chef Geoff brought Amy a rose and some home made schnapps.  Howard  
> Moscovitz  (Mr. http://electro-music.com) and I drove in to the  
> city together.  I first saw Amy at electro-music 2005.
>
> Cheers,
>
> Bill
>

From member@eBay.it  Tue Dec 16 15:11:00 2008
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From: "Utente di eBay: nef973"<member@eBay.it>
Subject: nef973 ha inviato una domanda sull'oggetto
Date: Mon, 15 Dec 2008 12:52:18 -0500
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<TD><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><BR>ciao, se mi dai la conferma domattina ti invio ii soldi, fammi sapere,grazie<BR><BR>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">- nef973</DIV></FONT></TD>
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<DIV>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</DIV></DIV>
<DIV id=EmailDetails>
<DIV>
<TABLE style="BORDER-RIGHT: #ddd 1px solid; BORDER-TOP: #ddd 1px solid; BORDER-LEFT: #ddd 1px solid; BORDER-BOTTOM: #ddd 1px solid" cellSpacing=3 cellPadding=2 width="100%" border=0>
<TBODY>
<TR style="BACKGROUND-COLOR: #eee">
<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap colSpan=2>Oggetto e dettagli utente</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">Titolo dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">Numero oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top><A href="http://210.205.115.38/member/images/blank.htm">300280183878</A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">URL dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top><A href="http://210.205.115.38/member/images/blank.htm" target=_blank rel=nofollow><FONT color=#003399>http:/cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=300280183878</FONT></A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>12-Dic-08 09:10:47 CET</TD></TR>
<TR vAlign=top>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>Dall'utente:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">
<TABLE cellSpacing=0 cellPadding=2 width="100%" border=0>
<TBODY>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><A href="http://210.205.115.38/member/images/blank.htm" target=_blank rel=nofollow><FONT color=#003399>nef973</FONT></A> (<A href="http://210.205.115.38/member/images/blank.htm" target=_blank rel=nofollow><FONT color=#003399>13</FONT></A><FONT color=#003399><IMG height=25 src="http://pics.ebaystatic.com/aw/pics/it/icon/iconYellowStar_25x25.gif" width=25 align=absMiddle></FONT>)</FONT></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap>100.0% Feedback positivi</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap>Utente dal 10-Mag-01 in Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap>Luogo: other, Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Attività con nef973 (ultimi 90 giorni): nef973 ha fatto delle offerte su <B>0</B> dei miei oggetti.</FONT></TD></TR></TBODY></TABLE></TD></TR>
<TR>
<TD colSpan=2><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Questo messaggio è stato inviato mentre l'inserzione era <STRONG>in corso.</STRONG> nef973 è un <B>potenziale acquirente</B>.</FONT></TD></TR></TBODY></TABLE><BR></DIV></DIV>
<DIV id=ItemDetails></DIV>
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<DIV id=MSTTextDilimiter1>
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<DIV id=MarketSaftyTip>
<DIV>
<TABLE style="BORDER-RIGHT: #6b7b91 1px solid; BORDER-TOP: #6b7b91 1px solid; BORDER-LEFT: #6b7b91 1px solid; BORDER-BOTTOM: #6b7b91 1px solid" cellSpacing=0 cellPadding=0 width="100%" border=0>
<TBODY>
<TR style="BACKGROUND-COLOR: #c9d2dc" height=1>
<TD><IMG height=25 alt="Suggerimenti sulla sicurezza" src="http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgShield_25x25.gif" width=25 align=absMiddle></TD>
<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap width="20%">Suggerimenti sulla sicurezza</TD>
<TD><IMG height=25 alt="" src="http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgTabCorner_25x25.gif" width=25 align=absMiddle></TD>
<TD width="80%" background=http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgFlex_1x25.gif height=1></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" colSpan=4>
<UL style="MARGIN-TOP: 5px; MARGIN-BOTTOM: 5px">
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square"><A href="http://pages.ebay.it/help/buy/payment.html" target=_blank rel=nofollow><FONT color=#003399>Tieni il tuo denaro al sicuro</FONT></A>: non pagare mai oggetti in contanti né con servizi di trasferimento fondi, come Western Union o MoneyGram. In passato alcuni venditori hanno sfruttato questi metodi di pagamento per frodare gli acquirenti e sono stati banditi dal sito. 
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Ha ricevuto un'email di Offerta diretta? <A href="http://pages.ebay.it/help/buy/personal-offer.html" target=_blank rel=nofollow><FONT color=#003399>Controlla che sia autentica</FONT></A>: le email di Offerta diretta provengono direttamente da eBay e le trovi anche in I miei messaggi. 
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Fai acquisti in sicurezza. Diffida di chi ti contatta per <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank rel=nofollow><FONT color=#003399>acquisti e vendite all'esterno di eBay</FONT></A>. Quando effettui transazioni fuori da eBay, non puoi lasciare un commento di Feedback né sfruttare i programmi di protezione e gli strumenti per la risoluzione delle dispute. <A href="http://contact.ebay.it/ws/eBayISAPI.dll?ContactUs&amp;wftype=3002" target=_blank rel=nofollow><FONT color=#003399>Segnala</FONT></A> eventuali email inappropriate. 
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Gli strumenti di messaggistica eBay garantiscono la tua privacy e sicurezza online. Se non hai effettuato transazioni con l'utente che ti ha contattato, entrambi i vostri indirizzi email vengono resi anonimi.</LI></UL></TD></TR>
<TR>
<TD style="BACKGROUND-COLOR: #c9d2dc" colSpan=4><IMG height=1 src="http://pics.ebaystatic.com/aw/pics/it/s.gif" width=1></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<TD width="100%"><FONT style="FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana"><A href="http://pages.ebay.it/education/spooftutorial/index.html" target=_blank rel=nofollow><FONT color=#003399>Ulteriori informazioni</FONT></A> su come proteggerti dalle email contraffatte.<BR><BR>Un altro utente eBay ha inviato questa email all'indirizzo gabriang1@yahoo.it tramite la piattaforma eBay. eBay non è in alcun modo responsabile né dell'invio di questa email né dei suoi contenuti<BR><BR>Per qualsiasi domanda al riguardo, consulta le <A href="http://pages.ebay.it/help/policies/privacy-policy.html" target=_blank rel=nofollow><FONT color=#003399>Regole sulla Privacy</FONT></A> e l'<A href="http://pages.ebay.it/help/policies/user-agreement.html" target=_blank rel=nofollow><FONT color=#003399>Accordo per gli utenti</FONT></A>.<BR><BR>Puoi <A href="http://pages.ebay.it/help/policies/rfe-spam-ov.html" target=_blank rel=nofollow><FONT color=#003399>segnalare questo messaggio</FONT></A> come email non richiesta (di spa

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 15:35:19 2008
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Date: Tue, 16 Dec 2008 16:31:11 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: uff!
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	 <323028.89421.qm@web38603.mail.mud.yahoo.com>
	 <66f9cc1e0812160136g31a8520cjb85951222ab16091@mail.gmail.com>
	 <9ab0c76f0812160217g23856a91j3bc5bf4abd8a0ed8@mail.gmail.com>
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... yes, substitute, and maybe a bit of unrounded inserts or
multiply?... seems that reached a point, the base loop changes his
lenghth but containing some of the older stuff ... can't listen again,
i'm answering from a pocket pc.

2008/12/16, mark francombe <mark@markfrancombe.com>:
> Sure is an EDP... no doubt!!!
>
>
>
> On Tue, Dec 16, 2008 at 10:36 AM, Per Boysen <perboysen@gmail.com> wrote:
>
>> I think what you hear in the video is the sound of an EDP. "Substitute
>> stuff" ;-))
>> I'm not sure a software looper can do that. Maybe Mobius, but I've
>> never tried myself.
>>
>> Per
>>
>>
>> On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo <labaloops@yahoo.com> wrote:
>> > i see there is a mac on a stand,right???no more EDP? is he using the mac
>> to loop now?
>> >
>> > www.myspace.com/luisangulocom
>> >
>> >
>> > --- On Mon, 12/15/08, Raul Bonell <raul.bonell@gmail.com> wrote:
>> >
>> >> From: Raul Bonell <raul.bonell@gmail.com>
>> >> Subject: uff!
>> >> To: "Loopers-Delight@loopers-delight.com" <
>> Loopers-Delight@loopers-delight.com>
>> >> Date: Monday, December 15, 2008, 9:52 PM
>> >> http://www.youtube.com/watch?v=0y4K6Ls1rlM
>>
>>
>> >
>> >
>>
>>
>
>
> --
> www.markfrancombe.com
> http://vimeo.com/user825094
> http://uk.youtube.com/user/markfrancombe
> http://www.myspace.com/markfrancombe
> www.looop.no
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 15:41:26 2008
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Date: Tue, 16 Dec 2008 16:37:16 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: uff!
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	 <323028.89421.qm@web38603.mail.mud.yahoo.com>
	 <66f9cc1e0812160136g31a8520cjb85951222ab16091@mail.gmail.com>
	 <9ab0c76f0812160217g23856a91j3bc5bf4abd8a0ed8@mail.gmail.com>
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... regarding onrounded insert, if memory serves me well, i couldn't
start a loop from scratch with this function in mobius. crashed
instantly... but EDP allowed for this crazy appending technic rock
solid.

2008/12/16, Raul Bonell <raul.bonell@gmail.com>:
> ... yes, substitute, and maybe a bit of unrounded inserts or
> multiply?... seems that reached a point, the base loop changes his
> lenghth but containing some of the older stuff ... can't listen again,
> i'm answering from a pocket pc.
>
> 2008/12/16, mark francombe <mark@markfrancombe.com>:
>> Sure is an EDP... no doubt!!!
>>
>>
>>
>> On Tue, Dec 16, 2008 at 10:36 AM, Per Boysen <perboysen@gmail.com> wrote:
>>
>>> I think what you hear in the video is the sound of an EDP. "Substitute
>>> stuff" ;-))
>>> I'm not sure a software looper can do that. Maybe Mobius, but I've
>>> never tried myself.
>>>
>>> Per
>>>
>>>
>>> On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo <labaloops@yahoo.com> wrote:
>>> > i see there is a mac on a stand,right???no more EDP? is he using the
>>> > mac
>>> to loop now?
>>> >
>>> > www.myspace.com/luisangulocom
>>> >
>>> >
>>> > --- On Mon, 12/15/08, Raul Bonell <raul.bonell@gmail.com> wrote:
>>> >
>>> >> From: Raul Bonell <raul.bonell@gmail.com>
>>> >> Subject: uff!
>>> >> To: "Loopers-Delight@loopers-delight.com" <
>>> Loopers-Delight@loopers-delight.com>
>>> >> Date: Monday, December 15, 2008, 9:52 PM
>>> >> http://www.youtube.com/watch?v=0y4K6Ls1rlM
>>>
>>>
>>> >
>>> >
>>>
>>>
>>
>>
>> --
>> www.markfrancombe.com
>> http://vimeo.com/user825094
>> http://uk.youtube.com/user/markfrancombe
>> http://www.myspace.com/markfrancombe
>> www.looop.no
>>
>
>
> --
> 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
> TPO at Jamendo: http://www.jamendo.com
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 15:43:05 2008
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Message-ID: <afb941d0812160738m1ed234ads3989dd24c797d51@mail.gmail.com>
Date: Tue, 16 Dec 2008 16:38:47 +0100
From: "Raul Bonell" <raul.bonell@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: uff!
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	 <323028.89421.qm@web38603.mail.mud.yahoo.com>
	 <66f9cc1e0812160136g31a8520cjb85951222ab16091@mail.gmail.com>
	 <9ab0c76f0812160217g23856a91j3bc5bf4abd8a0ed8@mail.gmail.com>
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... wanna type: unrounded ...  pda's pencil .... argg!

2008/12/16, Raul Bonell <raul.bonell@gmail.com>:
> ... regarding onrounded insert, if memory serves me well, i couldn't
> start a loop from scratch with this function in mobius. crashed
> instantly... but EDP allowed for this crazy appending technic rock
> solid.
>
> 2008/12/16, Raul Bonell <raul.bonell@gmail.com>:
>> ... yes, substitute, and maybe a bit of unrounded inserts or
>> multiply?... seems that reached a point, the base loop changes his
>> lenghth but containing some of the older stuff ... can't listen again,
>> i'm answering from a pocket pc.
>>
>> 2008/12/16, mark francombe <mark@markfrancombe.com>:
>>> Sure is an EDP... no doubt!!!
>>>
>>>
>>>
>>> On Tue, Dec 16, 2008 at 10:36 AM, Per Boysen <perboysen@gmail.com> wrote:
>>>
>>>> I think what you hear in the video is the sound of an EDP. "Substitute
>>>> stuff" ;-))
>>>> I'm not sure a software looper can do that. Maybe Mobius, but I've
>>>> never tried myself.
>>>>
>>>> Per
>>>>
>>>>
>>>> On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo <labaloops@yahoo.com> wrote:
>>>> > i see there is a mac on a stand,right???no more EDP? is he using the
>>>> > mac
>>>> to loop now?
>>>> >
>>>> > www.myspace.com/luisangulocom
>>>> >
>>>> >
>>>> > --- On Mon, 12/15/08, Raul Bonell <raul.bonell@gmail.com> wrote:
>>>> >
>>>> >> From: Raul Bonell <raul.bonell@gmail.com>
>>>> >> Subject: uff!
>>>> >> To: "Loopers-Delight@loopers-delight.com" <
>>>> Loopers-Delight@loopers-delight.com>
>>>> >> Date: Monday, December 15, 2008, 9:52 PM
>>>> >> http://www.youtube.com/watch?v=0y4K6Ls1rlM
>>>>
>>>>
>>>> >
>>>> >
>>>>
>>>>
>>>
>>>
>>> --
>>> www.markfrancombe.com
>>> http://vimeo.com/user825094
>>> http://uk.youtube.com/user/markfrancombe
>>> http://www.myspace.com/markfrancombe
>>> www.looop.no
>>>
>>
>>
>> --
>> 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
>> TPO at Jamendo: http://www.jamendo.com
>>
>
>
> --
> 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
> TPO at Jamendo: http://www.jamendo.com
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 15:48:52 2008
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On Tue, Dec 16, 2008 at 4:31 PM, Raul Bonell <raul.bonell@gmail.com> wrote:
> ... yes, substitute, and maybe a bit of unrounded inserts or
> multiply?... seems that reached a point, the base loop changes his
> lenghth but containing some of the older stuff ... can't listen again,
> i'm answering from a pocket pc.


You're right. It's the "Insert" function.


> ... regarding onrounded insert, if memory serves me well, i couldn't
> start a loop from scratch with this function in mobius. crashed
> instantly... but EDP allowed for this crazy appending technic rock
> solid.

Interesting. Another EDP technique I had to let go off when starting
to use Mobius instead of the EDP was to start the first loop in
Reverse Mode and then end Record with Reverse + HalfSpeed. But with
the recent version of Mobius it is possible to do that, so the
standard of looping software has obviously improved.

Per

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 16:34:09 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: uff!
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yes mobius does all this nowdays ive tried it and insert,replace etc. works just as good as the EDP thats why i was wondering if he is rather using the mac!

www.myspace.com/luisangulocom


--- On Tue, 12/16/08, Per Boysen <perboysen@gmail.com> wrote:

> From: Per Boysen <perboysen@gmail.com>
> Subject: Re: uff!
> To: Loopers-Delight@loopers-delight.com
> Date: Tuesday, December 16, 2008, 7:48 AM
> On Tue, Dec 16, 2008 at 4:31 PM, Raul Bonell
> <raul.bonell@gmail.com> wrote:
> > ... yes, substitute, and maybe a bit of unrounded
> inserts or
> > multiply?... seems that reached a point, the base loop
> changes his
> > lenghth but containing some of the older stuff ...
> can't listen again,
> > i'm answering from a pocket pc.
> 
> 
> You're right. It's the "Insert" function.
> 
> 
> > ... regarding onrounded insert, if memory serves me
> well, i couldn't
> > start a loop from scratch with this function in
> mobius. crashed
> > instantly... but EDP allowed for this crazy appending
> technic rock
> > solid.
> 
> Interesting. Another EDP technique I had to let go off when
> starting
> to use Mobius instead of the EDP was to start the first
> loop in
> Reverse Mode and then end Record with Reverse + HalfSpeed.
> But with
> the recent version of Mobius it is possible to do that, so
> the
> standard of looping software has obviously improved.
> 
> Per


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 16:38:07 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: uff!
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unrounded insert and  sus functions like sus multiply works for me quite well,all mobius is missing now is window looping, yeeeess!

www.myspace.com/luisangulocom


--- On Tue, 12/16/08, Raul Bonell <raul.bonell@gmail.com> wrote:

> From: Raul Bonell <raul.bonell@gmail.com>
> Subject: Re: uff!
> To: Loopers-Delight@loopers-delight.com
> Date: Tuesday, December 16, 2008, 7:37 AM
> ... regarding onrounded insert, if memory serves me well, i
> couldn't
> start a loop from scratch with this function in mobius.
> crashed
> instantly... but EDP allowed for this crazy appending
> technic rock
> solid.
> 
> 2008/12/16, Raul Bonell <raul.bonell@gmail.com>:
> > ... yes, substitute, and maybe a bit of unrounded
> inserts or
> > multiply?... seems that reached a point, the base loop
> changes his
> > lenghth but containing some of the older stuff ...
> can't listen again,
> > i'm answering from a pocket pc.
> >
> > 2008/12/16, mark francombe
> <mark@markfrancombe.com>:
> >> Sure is an EDP... no doubt!!!
> >>
> >>
> >>
> >> On Tue, Dec 16, 2008 at 10:36 AM, Per Boysen
> <perboysen@gmail.com> wrote:
> >>
> >>> I think what you hear in the video is the
> sound of an EDP. "Substitute
> >>> stuff" ;-))
> >>> I'm not sure a software looper can do
> that. Maybe Mobius, but I've
> >>> never tried myself.
> >>>
> >>> Per
> >>>
> >>>
> >>> On Tue, Dec 16, 2008 at 10:19 AM, L.Angulo
> <labaloops@yahoo.com> wrote:
> >>> > i see there is a mac on a
> stand,right???no more EDP? is he using the
> >>> > mac
> >>> to loop now?
> >>> >
> >>> > www.myspace.com/luisangulocom
> >>> >
> >>> >
> >>> > --- On Mon, 12/15/08, Raul Bonell
> <raul.bonell@gmail.com> wrote:
> >>> >
> >>> >> From: Raul Bonell
> <raul.bonell@gmail.com>
> >>> >> Subject: uff!
> >>> >> To:
> "Loopers-Delight@loopers-delight.com" <
> >>> Loopers-Delight@loopers-delight.com>
> >>> >> Date: Monday, December 15, 2008, 9:52
> PM
> >>> >>
> http://www.youtube.com/watch?v=0y4K6Ls1rlM
> >>>
> >>>
> >>> >
> >>> >
> >>>
> >>>
> >>
> >>
> >> --
> >> www.markfrancombe.com
> >> http://vimeo.com/user825094
> >> http://uk.youtube.com/user/markfrancombe
> >> http://www.myspace.com/markfrancombe
> >> www.looop.no
> >>
> >
> >
> > --
> > 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
> > TPO at Jamendo: http://www.jamendo.com
> >
> 
> 
> -- 
> 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
> TPO at Jamendo: http://www.jamendo.com


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 16:47:11 2008
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Date: Tue, 16 Dec 2008 17:47:10 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Mobius feature request (was: "uff!")
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Luis said:
"all mobius is missing now is window looping, yeeeess!"

I'd like to second that implicit request, Jeff. When will we get loop windowing?

            Rainer

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 17:12:44 2008
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Hello all,

I just uploaded three video pieces that I've put together in attempt to
document my attempts at live video mixing at Vimeo

http://www.vimeo.com/user877640/videos

These were all silent recordings so I put some solo guitar improvisations
along with them to sweeten the deal.

Hope you like them,

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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Hello all,<br><br>I just uploaded three video pieces that I&#39;ve put together in attempt to document my attempts at live video mixing at Vimeo<br><br><a href="http://www.vimeo.com/user877640/videos" target="_blank">http://www.vimeo.com/user877640/videos</a><br>


<br>These were all silent recordings so I put some solo guitar improvisations along with them to sweeten the deal.&nbsp; <br><br>Hope you like them,<br><br>Kevin<br clear="all"><br>-- <br><br>Till now you seriously considered yourself to be the body and to have a<br>


form. That is the primal ignorance which is the root cause of all trouble.<br><br>- Ramana Maharshi (1879-1950)<br><br>Sound and Vision: &nbsp;<a href="http://www.minds-eye.org" target="_blank">http://www.minds-eye.org</a><br>



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A user can emulate loop windowing by setting up a script that runs a
random number of Undo or Redo commands. This would IMHO be better than
the original EDP loop windowing because you don't have to trim down
the loop length before it becomes possible.

I don't remember right out of the top of my head if Mobius scripting
language has any random option, but at least I remember that Rainer
uses Ableton Live and should be able to use that host's Follow Action
randomization for clip launching. Such randomly launched clips may
then contain the MIDI event assigned to a particular script, another
clip targeting another particular script etc etc. And those scripts of
course only differ in the number of Undo or Redo commands.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550




On Tue, Dec 16, 2008 at 5:47 PM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> Luis said:
> "all mobius is missing now is window looping, yeeeess!"
>
> I'd like to second that implicit request, Jeff. When will we get loop windowing?
>
>            Rainer
>
>

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> I'd like to second that implicit request, Jeff. When will we get loop
> windowing?

Well, if the Mac port doesn't kill me I can look at it next :-)

I've thought about it a bit, if I ever get to it will be different
than the EDP in a few ways.  I don't want to lose Undo after Unrounded
Multiply the way it's working now (just returning to the previous
layer), so the window will always be accessible with it's own
WindowBackward and WindowForward functions.  The effect will be
similar to Undo/Redo but with more control over the window size and
the amount of shift, for example shifting backward by subcycles or
seconds rather than entire cycles.  When I was playing with
windowing a long time ago something else I wanted was a way to "nudge"
the edges of the window just a bit without moving the whole window,
maybe using the pitch bend controller. =20

Then there's "segmented windowing" where you slice the loop into multiple
segments and fill each segment with non-contiguous pieces of the loop histo=
ry
chosen with a few semi-predictable methods or randomly.  Glitchcore!

Jeff

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Thanks much for the review, Bill. Did Recordios only do acetate 78's?  
Doesn't seem like the idea would work very well if people could only 
listen to their home recordings twice.

I'm now consumed by the desire to get one of these and modify it to cut 
fixed grooves...seems like one could put a lot of loops on a single 
record. At 78 rpm, they'd be pretty short loops, but such analog 
loveliness it would be.

http://www.collectorsquest.com/blog/wp-content/uploads/portable-wilcox-gay-recordio.jpg

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

> I was there and Amy was as fun as ever to watch and hear.  The 
> "experiment" as she called it went well, imo.  She played some sparse 
> chords on a tiny keyboard.  (Sort of Casio-like toy that she held in 
> her lap.)  She and Steve sang counter point while Steve cut the 
> acetate on an ancient Recordio.  Then they did the same song again 
> singing different parts and lyrics.  This was recorded on another 
> acetate.  Then both acetates were played on old Victrolas and miced 
> hard left and right, respectively, and synced by hand to make the 
> final song.  The acretates last for two plays and are then trash at 
> that point.  I hope that, since we only heard one play, that the 
> second play is done in a studio and recorded for a future Amy X. album.

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 17:38:43 2008
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> A user can emulate loop windowing by setting up a script that runs a
> random number of Undo or Redo commands.=20

The main limitation is that you can't control the size of the window
with undo.  The layer you end up in will always be the same size
as it was when you left it.  EDP windowing is more like gluing
all the layers together as if they were a piece of tape, then=20
picking start and ending locations from that tape that may include
pieces of different layers. =20

At the scripting level, what Mobius lacks is:

   totalFrames
      - variable containing the total size of all layers as
        if they were a continuous piece of tape

   baseFrame
      - variable containing the offset within totalFrames of
        the loop that is playing now

   TimeShift <startFrame> <endFrame>
      - create a new layer containing content from the loop history
        between two points

With those combined with ordinary script math you could window around
in several different ways.

Or I could just fix sync bugs :-)

Jeff

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--0-1790462008-1229451478=:54503
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Thanks to Luis and others here for helping me to simplify my setup.
=A0
I am now routing a mic (via a mixer) into one input of a DL4.=A0 My bass in=
to the other input.
The entire pedalboard (including the DL4) has a bypass switch in front of i=
t (so I can take the whole thing out and get my straight bass tone when I w=
ant).
=A0
Since adding the mic into the second DL4 input, I notice a major volume dro=
p in my bass (my volume when I'm bypassing the board is much louder than wh=
en I'm going through the board and the DL4).=A0 This was not the case befor=
e I put the mic into the second input - at that point the volumes (bypassed=
 or through the board) were pretty much equal.
=A0
Can anyone enlighten me as to what is going on here, and how I might fix it=
?

Thanks,
=A0
JK
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Thanks to Luis and others here for helping me to simplify my setup.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I am now routing a mic (via a mixer) into one input of a DL4.&nbsp; My bass into the other input.</DIV>
<DIV>The entire pedalboard (including the DL4) has a bypass switch in front of it (so I can take the whole thing out and get my straight bass tone when I want).</DIV>
<DIV>&nbsp;</DIV>
<DIV>Since adding the mic into the second DL4 input, I notice a major volume drop in my bass (my volume when I'm bypassing the board is much louder than when I'm going through the board and the DL4).&nbsp; This was not the case before I put the mic into the second input - at that point the volumes (bypassed or through the board) were pretty much equal.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Can anyone enlighten me as to what is going on here, and how I might fix it?<BR><BR>Thanks,</DIV>
<DIV>&nbsp;</DIV>
<DIV>JK</DIV></td></tr></table>
--0-1790462008-1229451478=:54503--

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From: "Kevin Cheli-Colando" <kevin@minds-eye.org>
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Hello all,

I just uploaded three video pieces that I've put together in attempt to
document my attempts at live video mixing at Vimeo

http://www.vimeo.com/user877640/videos

These were all silent recordings so I put some solo guitar improvisations
along with them to sweeten the deal.

Hope you like them,

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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Hello all,<br><br>I just uploaded three video pieces that I&#39;ve put together in attempt to document my attempts at live video mixing at Vimeo<br><br><a href="http://www.vimeo.com/user877640/videos" target="_blank">http://www.vimeo.com/user877640/videos</a><br>




<br>These were all silent recordings so I put some solo guitar improvisations along with them to sweeten the deal.&nbsp; <br><br>Hope you like them,<br><br>Kevin<br clear="all"><br>-- <br><br>Till now you seriously considered yourself to be the body and to have a<br>

form. That is the primal ignorance which is the root cause of all trouble.<br><br>- Ramana Maharshi (1879-1950)<br><br>Sound and Vision: &nbsp;<a href="http://www.minds-eye.org" target="_blank">http://www.minds-eye.org</a><br>


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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 19:43:14 2008
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impedance issues, i'm assuming?

---- Jonathan Kessler <kesslari@yahoo.com> wrote:=20
> Thanks to Luis and others here for helping me to simplify my setup.
> =C2=A0
> I am now routing a mic (via a mixer) into one input of a DL4.=C2=A0 My ba=
ss into the other input.
> The entire pedalboard (including the DL4) has a bypass switch in front of=
 it (so I can take the whole thing out and get my straight bass tone when I=
 want).
> =C2=A0
> Since adding the mic into the second DL4 input, I notice a major volume d=
rop in my bass (my volume when I'm bypassing the board is much louder than =
when I'm going through the board and the DL4).=C2=A0 This was not the case =
before I put the mic into the second input - at that point the volumes (byp=
assed or through the board) were pretty much equal.
> =C2=A0
> Can anyone enlighten me as to what is going on here, and how I might fix =
it?
>=20
> Thanks,
> =C2=A0
> JK

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So...is module 8 a video looping program? This stuff is cool!

On Tue, Dec 16, 2008 at 12:08 PM, Kevin Cheli-Colando
<kevin@minds-eye.org>wrote:

> Hello all,
>
> I just uploaded three video pieces that I've put together in attempt to
> document my attempts at live video mixing at Vimeo
>
> http://www.vimeo.com/user877640/videos
>
> These were all silent recordings so I put some solo guitar improvisations
> along with them to sweeten the deal.
>
> Hope you like them,
>
> 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
>



-- 
Trevor Davis
Bare Bones Productions
www.bonesdrums.com
1239 D Street
Salida, CO
81201
719 207 3422
866 622 4269

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So...is module 8 a video looping program? This stuff is cool!<br><br>
<div class="gmail_quote">On Tue, Dec 16, 2008 at 12:08 PM, Kevin Cheli-Colando <span dir="ltr">&lt;<a href="mailto:kevin@minds-eye.org">kevin@minds-eye.org</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Hello all,<br><br>I just uploaded three video pieces that I&#39;ve put together in attempt to document my attempts at live video mixing at Vimeo<br>
<br><a href="http://www.vimeo.com/user877640/videos" target="_blank">http://www.vimeo.com/user877640/videos</a><br><br>These were all silent recordings so I put some solo guitar improvisations along with them to sweeten the deal.&nbsp; <br>
<br>Hope you like them,<br><br>Kevin<br clear="all"><font color="#888888"><br>-- <br><br>Till now you seriously considered yourself to be the body and to have a<br>form. That is the primal ignorance which is the root cause of all trouble.<br>
<br>- Ramana Maharshi (1879-1950)<br><br>Sound and Vision: &nbsp;<a href="http://www.minds-eye.org/" target="_blank">http://www.minds-eye.org</a><br></font></blockquote></div><br><br clear="all"><br>-- <br>Trevor Davis<br>Bare Bones Productions<br>
<a href="http://www.bonesdrums.com">www.bonesdrums.com</a><br>1239 D Street<br>Salida, CO <br>81201<br>719 207 3422<br>866 622 4269<br>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 20:21:27 2008
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One of my favorite things is looped vocals, particularly acapella. 
(listening to Amy X right now...). I love Bjork's "Medulla" (some 
looping content), and Rick's "Faux Voix" (crazy good, including the 
title). Anyone have any recommendations or self-props?

There was some very nice chap at the Loopfest working the entrance who 
had a vocal CD for sale, and I regret not picking it up. Is that 
gentleman here?

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


From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 20:37:31 2008
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you may want to check out michael schiefel, here's his site:
http://www.michaelschiefel.com/english/index1.html

smooth looping - tilmann

Daryl Shawn schrieb:
> One of my favorite things is looped vocals, particularly acapella. 
> (listening to Amy X right now...). I love Bjork's "Medulla" (some 
> looping content), and Rick's "Faux Voix" (crazy good, including the 
> title). Anyone have any recommendations or self-props?
>
> There was some very nice chap at the Loopfest working the entrance who 
> had a vocal CD for sale, and I regret not picking it up. Is that 
> gentleman here?
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 20:51:51 2008
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Date: Tue, 16 Dec 2008 21:39:10 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: Acapella Loopers
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> Anyone have any recommendations or self-props?

Stating the obvious here, but there's Kid Beyond (who also played
Rick's festival - I think in 2005?). A looping beatboxer/instrument
imitator - and astounding as that, but I have to admit I prefer his
covers to his originals (here's one originally by Portishead:
http://www.youtube.com/watch?v=3DnVusmB-iMEA). He's using Ableton Live,
btw.

Then there's Pushing Air, who also played some of Rick's festivals (I
know for sure about the 06 one, because I had her at the kybermusik
thing).

I seem to remember that David Moss also almost did something like this
- on his duet collaboration album "Time Stories", Heiner Goebbels
samples him.

And of course, there's a lot of vocal work on my next album "Wie gro=DF
ist die Luft ?" - release date December 24th of 2008 ;)

          Rainer

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Thanks, Tilmann!

One assumes an album titled "Invisible Loop" is a good place to start, 
I'm going to check that one out first.

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


> you may want to check out michael schiefel, here's his site:
> http://www.michaelschiefel.com/english/index1.html
>
> smooth looping - tilmann

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 21:36:18 2008
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Cool, thanks. I'll be checking out Pushing Air and David Moss.

Funny, I guess Kid Beyond would, technically, classify as acapella 
singing, though I didn't think of him in this sphere. He's certainly an 
amazing performer, but his work doesn't do much for me, as least so far. 
I'm mostly impressed by his technique and will be interested in hearing 
stuff he does outside of the dance genre, which he seems to fit quite 
(too?) neatly into.

Looking forward to your next work.!

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


> Stating the obvious here, but there's Kid Beyond (who also played
> Rick's festival - I think in 2005?). A looping beatboxer/instrument
> imitator - and astounding as that, but I have to admit I prefer his
> covers to his originals (here's one originally by Portishead:
> http://www.youtube.com/watch?v=nVusmB-iMEA). He's using Ableton Live,
> btw.
>
> Then there's Pushing Air, who also played some of Rick's festivals (I
> know for sure about the 06 one, because I had her at the kybermusik
> thing).
>
> I seem to remember that David Moss also almost did something like this
> - on his duet collaboration album "Time Stories", Heiner Goebbels
> samples him.
>
> And of course, there's a lot of vocal work on my next album "Wie groß
> ist die Luft ?" - release date December 24th of 2008 ;)
>
>           Rainer
>
>
>
>   

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she's not an acapella artist, but i love this video of imogen heap doing an
acapella looping performance...

 http://www.youtube.com/watch?v=25VGdNU3nrU

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<div class="gmail_quote">she&#39;s not an acapella artist, but i love this video of imogen heap doing an acapella looping performance...</div><div class="gmail_quote"><br></div><div class="gmail_quote">&nbsp;<a href="http://www.youtube.com/watch?v=25VGdNU3nrU">http://www.youtube.com/watch?v=25VGdNU3nrU</a></div>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 21:47:24 2008
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Brilliant - just LOVE it!

To me, listening to Andre Lafosse' stuff was really an eye-opener...
Personally, I use the looper as a tool mostly - but he has really fully embraced it as a truly musical instrument...

thanks

Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 21:56:24 2008
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sounds like a complex setup... good luck! ;-)
Buzap
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für nur 16,37 Euro/mtl.!* http://dsl.gmx.de/?ac=OM.AD.PD003K1308T4569a

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 22:01:30 2008
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Wasn't the EDP window looping "feature" more of a bug initially?
OK, PostIts were, too. ;-)

I guess my concern is that people don't distract Jeff from the Mac port ;-) 

best regards
Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

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I adore Imogen. Her records are full of pop sheen, not my usual fare, 
but I listen to them all the time. And in this video, she turns a trite 
little song about Christmas dinner with the family into an exuberant, 
African-feeling stomp that almost brings tears to my eyes. really amazing.

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

> she's not an acapella artist, but i love this video of imogen heap 
> doing an acapella looping performance...
>
>  http://www.youtube.com/watch?v=25VGdNU3nrU

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On Tue, Dec 16, 2008 at 11:01 PM, Buzap Buzap <buzap@gmx.net> wrote:
> Wasn't the EDP window looping "feature" more of a bug initially?

It was a bug. But enthusiastic Bug Lovers talked Matthias into keeping
it as "a feature" (darn cool one!)



> I guess my concern is that people don't distract Jeff from the Mac port ;-)

Agree. (I've never seen the point in copying the EDP anyway)

For a sort of loop windowing effect one can patch an instance of
Augsustus Loop into the setup and swap between different values for
Beat Devisor and Reverse/Forwards. This also trashes the plug-in's
audio memory into chunks and it seems quite random which one will be
playing back at the next parameter value.

Per

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I agree that Andre's work is an 'eye-opener' as you say, but I must admit i=
 don't find his work 'musical' to my ears.  His glitch style is chock full =
of screeches, bleeps, and noise, shards of rhythms and alienating textures.=
 I just picture myself seeing one of his performances with my wife, and her=
 giving me that look that says "i need you to get me out of here or i'm goi=
ng to have a massive migraine."

no disrespect.  Andre has amazing technique and is light years ahead of whe=
re i'll ever be as a 'live looper'.

different strokes for different folks.

rich


---- Buzap Buzap <buzap@gmx.net> wrote:=20
> Brilliant - just LOVE it!
>=20
> To me, listening to Andre Lafosse' stuff was really an eye-opener...
> Personally, I use the looper as a tool mostly - but he has really fully e=
mbraced it as a truly musical instrument...
>=20
> thanks
>=20
> Buzap
> --=20
> Psssst! Schon vom neuen GMX MultiMessenger geh=C3=B6rt? Der kann`s mit al=
len: http://www.gmx.net/de/go/multimessenger
>=20

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>> I guess my concern is that people don't distract Jeff from the Mac
>> port ;-)
>Agree. (I've never seen the point in copying the EDP anyway)
>For a sort of loop windowing effect one can patch an instance of Augsustus Loop into the setup and swap between different values for Beat Devisor and Reverse/Forwards.

Or else, you could for a sort of Mobius effect run Windows in a
virtual machine on your mac and then have that run Mobius and patch
that into your os-x setup...

I don't want a mac port. I want loop windowing! ;)

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 22:41:29 2008
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On Tue, Dec 16, 2008 at 11:26 PM,  <thetoyroom@charter.net> wrote:
> I agree that Andre's work is an 'eye-opener' as you say, but I must admit i don't find his work 'musical' to my ears.  His glitch style is chock full of screeches, bleeps, and noise, shards of rhythms and alienating textures. I just picture myself seeing one of his performances with my wife, and her giving me that look that says "i need you to get me out of here or i'm going to have a massive migraine."


Ha, ha.... :-)  You should lend an ear to his older work. At his
website he keeps some wonderful pieces where he plays with the guitar
and the EDP's reverse function. No layering etc. Just playing a phrase
on the guitar, kicking in reverse and keep on the musical flow playing
duo with his old phrase now reversed. Feedback set to zero and he
always knows exactly when to kick the reverse again to not kill his
reversed duo buddy.  I think reverse looping brings out the good sides
in using a plucked string instrument. I personally like those pieces
better than the substitute stuff.  (but the substitute stuff is way
more fun)

per

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 22:45:26 2008
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More Acapella Loopers:

- Martin O.: http://www.youtube.com/watch?v=gtdIQ8joO-E
I was very impressed seeing Martin O. looping live. Great performance! I guess I'll report more in detail about his concert.

- Bobby McFerrin "Circle Songs": http://www.youtube.com/watch?v=Wp0QyaQthr4
They don't use a looper but reflect the spirit of vocal looping. (Video is a dance performance feat. a Circle Song). Simply beautiful music.

Artistists mentioned before:
- Juana Molina: http://www.youtube.com/watch?v=IyCTVWdKa5U
- Imogen Heap
- Jamie Lidell, old stuff (excellent!): http://www.youtube.com/watch?v=PKqE1d1ucR
- Theo Bleckmann: http://www.youtube.com/watch?v=31jAFxH2hzE

and there are some vocal loopers on this forum, too, of course (i.e. vocaloop... ;-)


Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

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> I don't want a mac port. I want loop windowing! ;)

Don't be so selfish, Rainer... (I'm just kidding ;-) ...

But seriously: I DON'T want to run Mobius in some Parallels/Fusion window but as a plugin in Mainstage... 

Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 22:50:37 2008
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I do a lot of that with one EDP holding a static loop, and then the second
brothersync'ed set to one or two repeats.  I wish there was a way to make it
automatically reverse at the end of each cycle so I don't have to keep
hitting the INS pedal.
TH

On Tue, Dec 16, 2008 at 2:41 PM, Per Boysen <perboysen@gmail.com> wrote:

>
>
> Ha, ha.... :-)  You should lend an ear to his older work. At his
> website he keeps some wonderful pieces where he plays with the guitar
> and the EDP's reverse function. No layering etc. Just playing a phrase
> on the guitar, kicking in reverse and keep on the musical flow playing
> duo with his old phrase now reversed. Feedback set to zero and he
> always knows exactly when to kick the reverse again to not kill his
> reversed duo buddy.  I think reverse looping brings out the good sides
> in using a plucked string instrument. I personally like those pieces
> better than the substitute stuff.  (but the substitute stuff is way
> more fun)
>
>
>

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I do a lot of that with one EDP holding a static loop, and then the second brothersync&#39;ed set to one or two repeats. &nbsp;I wish there was a way to make it automatically reverse at the end of each cycle so I don&#39;t have to keep hitting the INS pedal.<div>
<br></div><div>TH<br><br><div class="gmail_quote">On Tue, Dec 16, 2008 at 2:41 PM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<div class="Ih2E3d"><br>
<br>
</div>Ha, ha.... :-) &nbsp;You should lend an ear to his older work. At his<br>
website he keeps some wonderful pieces where he plays with the guitar<br>
and the EDP&#39;s reverse function. No layering etc. Just playing a phrase<br>
on the guitar, kicking in reverse and keep on the musical flow playing<br>
duo with his old phrase now reversed. Feedback set to zero and he<br>
always knows exactly when to kick the reverse again to not kill his<br>
reversed duo buddy. &nbsp;I think reverse looping brings out the good sides<br>
in using a plucked string instrument. I personally like those pieces<br>
better than the substitute stuff. &nbsp;(but the substitute stuff is way<br>
more fun)<br><font color="#888888"><br>
<br>
</font></blockquote></div><br></div>

------=_Part_57122_14226704.1229467830579--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 22:55:12 2008
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> no disrespect.  Andre has amazing technique and is light years ahead of
> where i'll ever be as a 'live looper'.
> different strokes for different folks.

Yeah. I really love his rhythmic feel. His "Normalized" album is among my most favorite music.
http://www.altruistmusic.com/normalized.html

Does anyone have an idea what FX he is using for his guitar there??
I really like the TWANG of his guitar sound there.

In terms of looping techniqe, I also like how he makes use of ultra-short loops.

Buzap


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From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 22:57:31 2008
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Cool, thanks! McFerrin is wonderful, as is Molina. The others are new to me.

Who's vocaloop...? Is that a stupid question...? Come forward!

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

> More Acapella Loopers:
>
> - Martin O.: http://www.youtube.com/watch?v=gtdIQ8joO-E
> I was very impressed seeing Martin O. looping live. Great performance! I guess I'll report more in detail about his concert.
>
> - Bobby McFerrin "Circle Songs": http://www.youtube.com/watch?v=Wp0QyaQthr4
> They don't use a looper but reflect the spirit of vocal looping. (Video is a dance performance feat. a Circle Song). Simply beautiful music.
>
> Artistists mentioned before:
> - Juana Molina: http://www.youtube.com/watch?v=IyCTVWdKa5U
> - Imogen Heap
> - Jamie Lidell, old stuff (excellent!): http://www.youtube.com/watch?v=PKqE1d1ucR
> - Theo Bleckmann: http://www.youtube.com/watch?v=31jAFxH2hzE
>
> and there are some vocal loopers on this forum, too, of course (i.e. vocaloop... ;-)
>
>
> Buzap
>   

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> ["Normalized" album]
> Does anyone have an idea what FX he is using for his guitar there??
> I really like the TWANG of his guitar sound there.

"Normalized is based around his highly distinctive solo live
performance style, dubbed "Turntablist Guitar." Using nothing but an
electric guitar, an Echoplex digital looper, and a standard tube
guitar amp, Andre creates rhythmically-intense, texturally dense
real-time performances that meld funk, hip-hop, glitch, and IDM. "

(source: http://altruistmusic.com/bio.html)

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Thanks for the info, Per.
What you describe reminds me of Matthias' performance that i saw way back at Loopstock '02, where he was setting feedback to zero and 'accompanying' himself during each pass of the phrase, only to have it change with the next pass.  Great stuff.


---- Per Boysen <perboysen@gmail.com> wrote: 
> On Tue, Dec 16, 2008 at 11:26 PM,  <thetoyroom@charter.net> wrote:
> > I agree that Andre's work is an 'eye-opener' as you say, but I must admit i don't find his work 'musical' to my ears.  His glitch style is chock full of screeches, bleeps, and noise, shards of rhythms and alienating textures. I just picture myself seeing one of his performances with my wife, and her giving me that look that says "i need you to get me out of here or i'm going to have a massive migraine."
> 
> 
> Ha, ha.... :-)  You should lend an ear to his older work. At his
> website he keeps some wonderful pieces where he plays with the guitar
> and the EDP's reverse function. No layering etc. Just playing a phrase
> on the guitar, kicking in reverse and keep on the musical flow playing
> duo with his old phrase now reversed. Feedback set to zero and he
> always knows exactly when to kick the reverse again to not kill his
> reversed duo buddy.  I think reverse looping brings out the good sides
> in using a plucked string instrument. I personally like those pieces
> better than the substitute stuff.  (but the substitute stuff is way
> more fun)
> 
> per
> 

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--Mark wrote:
"have to have a bass player.. infact it was just me, the drummer and the singer, she also fired off 
samples. small band... big noise!!!"

Yeah, it's cool that you said this, Mark.  Lately I"ve been fascinated by the concept of a band with 
only a drummer and a guitarist (with augmenting effects).

I'd never really listened to the Yeah Yeah Yeahs (mostly because their singer puts me off a little bit) 
but  a friend of mine who is enamored with noise and distortion guitar (and who I really respect a lot 
as a musician)  hipped me to the fact that this guitarist is really cool and innovative:  and that's his 
approach.   I also found out that he is using a lot of live looping to clone himself in live shows 
(to pull off parts that are obviously overdubbed on their records). 

I picked up a CD and an EP of their's and have really enjoyed what he's doing with one guitar.

Also,  my multi-instrumentalist friend, John Connell (who plays everything from traditional Persian 
Ney and Daf to synthesizer to Black Metal guitar and who was one of the really cool newbies at the 
festival this year)  said a really cool thing that I never thought about.

He said that most of the ethnic world uses this paradigm:   One string instrumentalist and one 
drummer.

There is an amazing amount of freedom when there is only one guitarist and one drummer 
and there is also a primalness that is very cool and deep potentially.

I really love that thought...................I'm just being the equivalent of a Tuareg playing 
guimbry and an accompanying Bendir , when I play electric guitar and drums (thanks to looping)

What other single guitar/drum groups are out there, per chance?

PS  by the way,   I changed the name of this thread, purposefully for future researchers in our 
archives.   I think it's better to have more things to search in the search archives (but I also 
am mildly afraid that I'll upset the person who started the original thread when I do this)


From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 23:29:36 2008
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> --Mark wrote:
> "have to have a bass player.. infact it was just me, the drummer and the 
> singer, she also fired off
> samples. small band... big noise!!!"
>
> Yeah, it's cool that you said this, Mark.  Lately I"ve been fascinated by 
> the concept of a band with
> only a drummer and a guitarist (with augmenting effects).

That's what I've been mainly doing for the last year. Me and Robert Sterling 
(Kribophoric) and our two Visceral CDs, plus me and Robert at Y2K8,  and 
Jared Hallock and our CD "Interstellar Delirium".....me and Robert at both 
BEMF in Boise and Y2K8, and then you and I at Y2K7.

To me the guitar/drum duo, if the feel is right, is getting close to the 
simplicity of Coltrane's Interstellar Space and Meditations...just sax and 
drums.  Pure and simple.  Robert and I are working our third CD, BTW.

With some basic looping and effects, there is really no need for any other 
instrument in this duo context. A good percussionist will completely 
flourish in this arrangement. And of course, a guitarist also has a lot of 
latitude to utilize his/her full chops or allow a lot of space, etc.

Kris



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Rick asked:
"What other single guitar/drum groups are out there, per chance?"

Ruins (well, not exactly, it's bass guitar).
You could also count in the drum machine/bass guitar combo of
Squarepusher in some of his live shows.
On the other hand, this exists also as a "double duo" - on the "Sign
of Four" album of Metheny, Bailey, Bendian and Wertico.

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The White StripesJucifer
The Black Keys
Early House Of Freaks

On Tue, Dec 16, 2008 at 3:32 PM, Rainer Straschill <moinsound@googlemail.com
> wrote:

> Rick asked:
> "What other single guitar/drum groups are out there, per chance?"
>
>

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The White Stripes<div>Jucifer</div><div>The Black Keys</div><div>Early House Of Freaks<br><br><div class="gmail_quote">On Tue, Dec 16, 2008 at 3:32 PM, Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com">moinsound@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Rick asked:<br>
&quot;What other single guitar/drum groups are out there, per chance?&quot;<br>
<br></blockquote></div></div>

------=_Part_57671_25366629.1229470739516--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 23:40:48 2008
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My old pop band Maxwell Horse started out as a duo, our first album was 
just drums and guitar. There are mp3's of the whole thing on our site in 
the Audio section - that album was called "Baby Names From the Bible".

http://www.mhorse.com

I didn't use effects, though, other than a Rat occasionally. This was 
all in the DADGCF tuning I mentioned earlier, into an old Princeton 
Reverb, which remains my favorite electric guitar sound.

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


> What other single guitar/drum groups are out there, per chance?

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--- On Tue, 12/16/08, Rick Walker <looppool@cruzio.com> wrote:
> What other single guitar/drum groups are out there, per
> chance?

The Pack A.D., from Vancouver.

http://thepackafterdeath.com/
http://www.myspace.com/thepackad
http://www.archive.org/details/ThePackAD

Aloha,
Brad


      __________________________________________________________________
Yahoo! Canada Toolbar: Search from anywhere on the web, and bookmark your favourite sites. Download it now at
http://ca.toolbar.yahoo.com.

From Loopers-Delight-request@loopers-delight.com  Tue Dec 16 23:45:06 2008
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And loud as hell!!!

also Big Business, who are bass/drums. They now comprise half the Melvins.

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

> Jucifer

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Date: Tue, 16 Dec 2008 19:11:24 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: One Guitarist, One Drummer
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Prior to Chinapainting and now occasionally with Chinapainting (see
video<http://www.youtube.com/watch?v=sWfhBtqHsXg&feature=channel_page>),
I worked initially with 2 drummers and me on guitar.  That evolved to just a
duo with drummer/found sound musician *Will Romano*.  We dubbed the
project East
of Where <http://www.myspace.com/eastofwhere>.  This project began as
pre-improvisational using many of solo pieces as a foundation enhanced by
Will's work then it evolved to total improv as I was evolving that way which
made for a natural transference for me to the work of Chinapainting.  As
mentioned above Will joined Daryl and I last summer for our first
Chinapainting show of the 2008 summer tour with a show in Williamsburg.
East of Where still occasionally gets together for a gig and Will joined me
last May as a NinJam participant in Krispen's Boise Experimental Music
Festival <http://www.krispenhartung.com/BEMF-3/>.  We performed with Emily
Hay and Motoko Honda.

jim
www.chinapaintingmusic.com
www.myspace.com/eastofwhere
www.vimeo.com/jimgoodindigital
www.jimgoodinmusic.com

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<div>Prior to Chinapainting and now occasionally with Chinapainting (<a hre=
f=3D"http://www.youtube.com/watch?v=3DsWfhBtqHsXg&amp;feature=3Dchannel_pag=
e">see video</a>), I worked initially with 2 drummers and&nbsp;me on guitar=
.&nbsp; That evolved to just a duo with drummer/found sound musician <em>Wi=
ll Romano</em>.&nbsp; We dubbed the project <a href=3D"http://www.myspace.c=
om/eastofwhere">East of Where</a>.&nbsp; This project began as pre-improvis=
ational using many of solo pieces as a foundation enhanced by Will&#39;s wo=
rk then it evolved to total improv as I was evolving that way which made fo=
r a natural transference for me to the work of Chinapainting.&nbsp; As ment=
ioned above Will joined Daryl and I last summer for our first Chinapainting=
 show of the 2008 summer tour with a show in Williamsburg.&nbsp; East of Wh=
ere still occasionally gets together for a gig and Will joined me last May =
as a NinJam participant in Krispen&#39;s <a href=3D"http://www.krispenhartu=
ng.com/BEMF-3/">Boise Experimental Music Festival</a>.&nbsp; We performed w=
ith Emily Hay and Motoko Honda.</div>

<div>&nbsp;</div>
<div>jim</div>
<div><a href=3D"http://www.chinapaintingmusic.com/">www.chinapaintingmusic.=
com</a></div>
<div><a href=3D"http://www.myspace.com/eastofwhere">www.myspace.com/eastofw=
here</a></div>
<div><a href=3D"http://www.vimeo.com/jimgoodindigital">www.vimeo.com/jimgoo=
dindigital</a></div>
<div><a href=3D"http://www.jimgoodinmusic.com/">www.jimgoodinmusic.com</a><=
/div>
<div><br>&nbsp;</div>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 00:19:27 2008
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References: <7334ca1b0812161239y7174faf8m5d689be3278662b@mail.gmail.com>
Subject: Re: Acapella Loopers
Date: Wed, 17 Dec 2008 00:19:22 -0000
Organization: EarthLight Productions
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There's a French artist named Camille that had a recent album, "Hole", that 
had some good vocal-combo loopage in more than a few songs.

----- Original Message ----- 
From: "Rainer Straschill" <moinsound@googlemail.com>
To: <loopers-delight@loopers-delight.com>
Sent: Tuesday, December 16, 2008 8:39 PM
Subject: Acapella Loopers


>> Anyone have any recommendations or self-props?
>
> Stating the obvious here, but there's Kid Beyond (who also played
> Rick's festival - I think in 2005?). A looping beatboxer/instrument
> imitator - and astounding as that, but I have to admit I prefer his
> covers to his originals (here's one originally by Portishead:
> http://www.youtube.com/watch?v=nVusmB-iMEA). He's using Ableton Live,
> btw.
>
> Then there's Pushing Air, who also played some of Rick's festivals (I
> know for sure about the 06 one, because I had her at the kybermusik
> thing).
>
> I seem to remember that David Moss also almost did something like this
> - on his duet collaboration album "Time Stories", Heiner Goebbels
> samples him.
>
> And of course, there's a lot of vocal work on my next album "Wie groß
> ist die Luft ?" - release date December 24th of 2008 ;)
>
>          Rainer
>
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 00:52:18 2008
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Date: Wed, 17 Dec 2008 00:46:18 +0000
From: "Kayla Kavanagh" <irishkayla@googlemail.com>
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Subject: Re: Acapella Loopers
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And another one to add to the list - something I tried out with the Akai
HeadRush in Tape Echo mode :)

http://www.facebook.com/home.php?#/video/video.php?v=34413755754

K

-- 
Kayla's website: http://www.kaylakavanagh.com
MySpace: http://www.myspace.com/kaylakavanagh
FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk

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And another one to add to the list - something I tried out with the Akai HeadRush in Tape Echo mode :)<br><br><a href="http://www.facebook.com/home.php?#/video/video.php?v=34413755754">http://www.facebook.com/home.php?#/video/video.php?v=34413755754</a><br>
<br>K<br clear="all"><br>-- <br>Kayla&#39;s website: <a href="http://www.kaylakavanagh.com">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh">http://www.myspace.com/kaylakavanagh</a><br>
FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk">http://www.kaleidoscope-design.co.uk</a><br>


------=_Part_34955_32621599.1229474778159--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 01:03:08 2008
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References: <37f071c00812161108s76cce4e2y9074311c8e6dac2d@mail.gmail.com> <49480DC2.9040907@mhorse.com> <494810D8.5020206@dehnhard.com> <49481A5B.4070208@mhorse.com> <d302e3570812161342i3bf693bv5756a03e06fc316d@mail.gmail.com>
Subject: Re: Acapella Loopers
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Hi there,

What do you think Imogen Heap uses for her looper?  Software?  Curious.

Thanks.
  ----- Original Message -----=20
  From: Simeon Harris=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Tuesday, December 16, 2008 1:42 PM
  Subject: Re: Acapella Loopers


  she's not an acapella artist, but i love this video of imogen heap =
doing an acapella looping performance...


   http://www.youtube.com/watch?v=3D25VGdNU3nrU


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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.18/1852 - Release Date: =
2008/12/16 18:11

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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Hi there,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>What do you think Imogen Heap uses for =
her=20
looper?&nbsp; Software?&nbsp; Curious.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Thanks.</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=3Dsimeonharris40@googlemail.com=20
  href=3D"mailto:simeonharris40@googlemail.com">Simeon Harris</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, December 16, =
2008 1:42=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Acapella =
Loopers</DIV>
  <DIV><BR></DIV>
  <DIV class=3Dgmail_quote>she's not an acapella artist, but i love this =
video of=20
  imogen heap doing an acapella looping performance...</DIV>
  <DIV class=3Dgmail_quote><BR></DIV>
  <DIV class=3Dgmail_quote>&nbsp;<A=20
  =
href=3D"http://www.youtube.com/watch?v=3D25VGdNU3nrU">http://www.youtube.=
com/watch?v=3D25VGdNU3nrU</A></DIV>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
- <A=20
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18:11<BR></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 02:20:43 2008
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Date: Tue, 16 Dec 2008 20:20:33 -0600
From: Daryl Shawn <highhorse@mhorse.com>
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References: <37f071c00812161108s76cce4e2y9074311c8e6dac2d@mail.gmail.com>	 <49480DC2.9040907@mhorse.com> <20081216224524.179480@gmx.net>	 <49483256.2090800@mhorse.com> <1f6442e00812161646k47f9f14aiaa0c52e76cac0531@mail.gmail.com>
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Great stuff, Kayla, thanks!

Let us know when your album comes out, be it looping or no.

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


> And another one to add to the list - something I tried out with the 
> Akai HeadRush in Tape Echo mode :)
>
> http://www.facebook.com/home.php?#/video/video.php?v=34413755754

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Subject: Re: New Video on Vimeo
Date: Tue, 16 Dec 2008 18:22:24 -0800
To: Loopers-Delight@loopers-delight.com
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Very nice work.

If I had my whole fine art/graphic design career to do over again I=20
think I'd be inspired to go into video as a medium.

But I'm an old geezer now and don't even own a video camera.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")
On Dec 16, 2008, at 9:12 AM, Kevin Cheli-Colando wrote:

> Hello all,
>
> I just uploaded three video pieces that I've put together in attempt=20=

> to document my attempts at live video mixing at Vimeo
>
> http://www.vimeo.com/user877640/videos
>
> These were all silent recordings so I put some solo guitar=20
> improvisations along with them to sweeten the deal.=A0
>
> Hope you like them,
>
> Kevin
>
> --=20
>
> 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=20
> trouble.
>
> - Ramana Maharshi (1879-1950)
>
> Sound and Vision: =A0http://www.minds-eye.org=

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 02:29:11 2008
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Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
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Dear Rick,

you should REALLY check "The Elephant Sleeps but Stil Remember" duo =20
with Jack DeJohnette and Bill Frisell.

Really BIG stuff.

Very best, Ariel.

El 16/12/2008, a las 21:17, Rick Walker escribi=F3:

>
>
> --Mark wrote:
> "have to have a bass player.. infact it was just me, the drummer and =20=

> the singer, she also fired off
> samples. small band... big noise!!!"
>
> Yeah, it's cool that you said this, Mark.  Lately I"ve been =20
> fascinated by the concept of a band with
> only a drummer and a guitarist (with augmenting effects).
>
> I'd never really listened to the Yeah Yeah Yeahs (mostly because =20
> their singer puts me off a little bit)
> but  a friend of mine who is enamored with noise and distortion =20
> guitar (and who I really respect a lot
> as a musician)  hipped me to the fact that this guitarist is really =20=

> cool and innovative:  and that's his
> approach.   I also found out that he is using a lot of live looping =20=

> to clone himself in live shows
> (to pull off parts that are obviously overdubbed on their records).
>
> I picked up a CD and an EP of their's and have really enjoyed what =20
> he's doing with one guitar.
>
> Also,  my multi-instrumentalist friend, John Connell (who plays =20
> everything from traditional Persian
> Ney and Daf to synthesizer to Black Metal guitar and who was one of =20=

> the really cool newbies at the
> festival this year)  said a really cool thing that I never thought =20
> about.
>
> He said that most of the ethnic world uses this paradigm:   One =20
> string instrumentalist and one
> drummer.
>
> There is an amazing amount of freedom when there is only one =20
> guitarist and one drummer
> and there is also a primalness that is very cool and deep potentially.
>
> I really love that thought...................I'm just being the =20
> equivalent of a Tuareg playing
> guimbry and an accompanying Bendir , when I play electric guitar and =20=

> drums (thanks to looping)
>
> What other single guitar/drum groups are out there, per chance?
>
> PS  by the way,   I changed the name of this thread, purposefully =20
> for future researchers in our
> archives.   I think it's better to have more things to search in the =20=

> search archives (but I also
> am mildly afraid that I'll upset the person who started the original =20=

> thread when I do this)
>
>

From aer0107@eircom.net  Wed Dec 17 02:30:17 2008
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From: "DR ATEF AMIN" <aer0107@eircom.net>
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To: .
Subject:  Business proposal Reply Asap
Date: Wed, 17 Dec 2008 02:22:40 +0000
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Hello

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Dear friend,<br><br>Your buddy has sent you a Christmas eCard from Dgreetings.com.<br><br>Your Christmas eCard will be available with us for the next 30 days.<br>
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 04:36:56 2008
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------=_Part_1522_13352.1229488614061
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i'd also love to see loopwindowing or some re-thought solution of this bugg=
y
feature of the edp in the new ported mobius.


2008/12/16 Buzap Buzap <buzap@gmx.net>

> > I don't want a mac port. I want loop windowing! ;)
>
> Don't be so selfish, Rainer... (I'm just kidding ;-) ...
>
> But seriously: I DON'T want to run Mobius in some Parallels/Fusion window
> but as a plugin in Mainstage...
>
> Buzap
> --
> Psssst! Schon vom neuen GMX MultiMessenger geh=F6rt? Der kann`s mit allen=
:
> http://www.gmx.net/de/go/multimessenger
>
>


--=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
TPO at Jamendo: http://www.jamendo.com

------=_Part_1522_13352.1229488614061
Content-Type: text/html; charset=ISO-8859-1
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i&#39;d also love to see loopwindowing or&nbsp;<div>some re-thought solutio=
n of this buggy</div><div>feature of the edp in the new ported mobius.</div=
><div><br></div><div><div><br><div class=3D"gmail_quote">2008/12/16 Buzap B=
uzap <span dir=3D"ltr">&lt;<a href=3D"mailto:buzap@gmx.net">buzap@gmx.net</=
a>&gt;</span><br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex;"><div class=3D"Ih2E3d">&gt; I don&#39;t want=
 a mac port. I want loop windowing! ;)<br>
<br>
</div>Don&#39;t be so selfish, Rainer... (I&#39;m just kidding ;-) ...<br>
<br>
But seriously: I DON&#39;T want to run Mobius in some Parallels/Fusion wind=
ow but as a plugin in Mainstage...<br>
<div><div></div><div class=3D"Wj3C7c"><br>
Buzap<br>
--<br>
Psssst! Schon vom neuen GMX MultiMessenger geh=F6rt? Der kann`s mit allen: =
<a href=3D"http://www.gmx.net/de/go/multimessenger" target=3D"_blank">http:=
//www.gmx.net/de/go/multimessenger</a><br>
<br>
</div></div></blockquote></div><br><br clear=3D"all"><br>-- <br>The Playing=
 Orchestra: <a href=3D"http://www.telefonica.net/web2/tpo">http://www.telef=
onica.net/web2/tpo</a><br>Chain Tape Collective: <a href=3D"http://www.ct-c=
ollective.com">http://www.ct-collective.com</a><br>
TPO at myspace: <a href=3D"http://www.myspace.com/theplayingorchestra">http=
://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href=3D"ht=
tp://www.jamendo.com">http://www.jamendo.com</a><br>
</div></div>

------=_Part_1522_13352.1229488614061--

From john_obasi12@yahoo.com  Wed Dec 17 07:20:23 2008
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Date: Wed, 17 Dec 2008 05:42:10 +0100 (CET)
Subject: NOTIFICATION OF PAYMENT BY ATM CARD
From: "Linda Jones" <john_obasi12@yahoo.com>
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INTERNATIONAL REMITTANCE
FOREIGN OPERATIONS DEPT,
OCEANIC BANK OF BENIN ,
COTONOU-BENIN REPUBLIC.

NOTIFICATION OF PAYMENT BY ATM CARD

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4)YOUR PROFESSION.

Best regards,
Linda Jones
Secretary.

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Date: Wed, 17 Dec 2008 03:08:12 -0500
From: "Jean-Paul De Roover" <j.de.roover@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Acapella Loopers
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With my current looping set up, I use an RC-50 with guitars, vocals
and other percussion, but I've also used it by itself to perform a
capella.

http://www.youtube.com/watch?v=T12eWL1DOe4

Here's some footage of me performing my track Elements at an
'unplugged' show.  (My excuse was that since everyone else [full
bands] were reducing their performances to just a guitar and voice, I
should still reduce mine from guitar and voice to just voice)

I've also done radio interviews, and it's a very easy way to do on air
performances.  Direct mono signal out, put it on your lap and sing!

The Imogen Heap video is great, and I actually just got back from a
show where I did a rendition of her "Hide and Seek".

Any recommendations for strictly vocal loopers?  I wouldn't mind
looking into having one devoted entirely to vocals and another
strictly to guitars and percussion.

-- 
Jean-Paul De Roover
www.jeanpaulderoover.com

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 08:13:42 2008
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Date: Wed, 17 Dec 2008 09:13:41 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
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On Wed, Dec 17, 2008 at 2:03 AM, Jim Atwood <ricoche@axel.ocn.ne.jp> wrote:
> Hi there,
>
> What do you think Imogen Heap uses for her looper?  Software?  Curious.
>
> Thanks.


She uses a Repeater live for looping and Ableton Live to run pre
prepared stuff. I know she plays some keyboard instruments live but
which models. When not on stage she composes and records in Logic Pro.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 08:39:40 2008
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Subject: COMPLETELY OT!!! I got Married!!!
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Totally Offtopic, but a quick shout out to all my friends at LD to let you
know that Hilde and me got married on Monday!!!
Wish us luck!!!

Heres a pic of the actual moment of "I do"!!!

later


MArk

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<br>Totally Offtopic, but a quick shout out to all my friends at LD to let you know that Hilde and me got married on Monday!!!<br>Wish us luck!!!<br><br>Heres a pic of the actual moment of &quot;I do&quot;!!!<br><br>later<br>
<br><br>MArk<br>

------=_Part_4566_28263061.1229503152475--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 08:59:05 2008
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Subject: Re: COMPLETELY OT!!! I got Married!!!
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rock on Mark,the fun has either just begun or stopped!!

www.myspace.com/luisangulocom


--- On Wed, 12/17/08, mark francombe <mark@markfrancombe.com> wrote:

> From: mark francombe <mark@markfrancombe.com>
> Subject: COMPLETELY OT!!! I got Married!!!
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 17, 2008, 12:39 AM
> Totally Offtopic, but a quick shout out to all my friends at
> LD to let you
> know that Hilde and me got married on Monday!!!
> Wish us luck!!!
> 
> Heres a pic of the actual moment of "I do"!!!
> 
> later
> 
> 
> MArk


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 09:05:58 2008
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Cool stuff jean!
here is a guy doing cool vocal stuff:

http://vocaloop.com/video

i beleive he uses all software

cheers

www.myspace.com/luisangulocom


--- On Wed, 12/17/08, Jean-Paul De Roover <j.de.roover@gmail.com> wrote:

> From: Jean-Paul De Roover <j.de.roover@gmail.com>
> Subject: Re: Acapella Loopers
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 17, 2008, 12:08 AM
> With my current looping set up, I use an RC-50 with guitars,
> vocals
> and other percussion, but I've also used it by itself
> to perform a
> capella.
> 
> http://www.youtube.com/watch?v=T12eWL1DOe4
> 
> Here's some footage of me performing my track Elements
> at an
> 'unplugged' show.  (My excuse was that since
> everyone else [full
> bands] were reducing their performances to just a guitar
> and voice, I
> should still reduce mine from guitar and voice to just
> voice)
> 
> I've also done radio interviews, and it's a very
> easy way to do on air
> performances.  Direct mono signal out, put it on your lap
> and sing!
> 
> The Imogen Heap video is great, and I actually just got
> back from a
> show where I did a rendition of her "Hide and
> Seek".
> 
> Any recommendations for strictly vocal loopers?  I
> wouldn't mind
> looking into having one devoted entirely to vocals and
> another
> strictly to guitars and percussion.
> 
> -- 
> Jean-Paul De Roover
> www.jeanpaulderoover.com


      

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Congrats, Dude n Dudesse!

per


On Wed, Dec 17, 2008 at 9:39 AM, mark francombe <mark@markfrancombe.com> wrote:
>
> Totally Offtopic, but a quick shout out to all my friends at LD to let you
> know that Hilde and me got married on Monday!!!
> Wish us luck!!!
>
> Heres a pic of the actual moment of "I do"!!!
>
> later
>
>
> MArk
>

From ahmedcosi@eircom.net  Wed Dec 17 09:19:31 2008
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From: "Lamine Usman" <ahmedcosi@eircom.net>
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To: .
Subject: PLEASE CALL ME VERY VERY URGENT
Date: Wed, 17 Dec 2008 09:13:12 +0000
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>From The Desk of Dr.lamine usman
Audits & Accounts Dept 
Bank of Africa 
Ouagadougou Burkina Faso 
TEL:00226 70 99 00 60
Dear Friend, 
 
I am Dr.lamine usman a banker with the above mentioned bank in Ouagadougou Burkina Faso in West Africa, holding the post of the Audit & Accounts dept,. On Monday, 31 July, 2000, one Andreas Schranner, a German National, An Astute Business man of international repute, a contractor with Ecowas country, whose endeavours spans various areas of business interest, (Real estate, contractor and Farming .etc) made a numbered time (Lodgment Fixed Deposit, valued at $12,400,000.00 (Twelve million four hundred thousand United States dollars) for twelve calendar months in my Bank Branch. 
 

Upon Maturity, we sent a routine notification to his forwarding address but got no reply. After a month, we sent a reminder and finally we discovered from his company that Mr. Andreas Schranner was aboard the AF4590 plane, which crashed Monday, 31 July 2000 into the Hotelissimo. 
 

http://news.bbc.co.uk/1/hi/world/europe/859479.stm 
After further investigation, it was discovered that he died without making a WILL and all attempts to trace his next of kin proved fruitless. 
On further investigation, it was discovered that Late Mr. Andreas Schranner did not declare any next of kin or relatives in all his official documents, including his Bank Deposit paper work here in our Bank. The total sum, $12,400,000.00 is still in my bank. All efforts to trace and locate his next of kin proved abortive. 
 

In accordance with the country’s  banking laws and constitution guiding this banking institution stated that  after  the expiration of (7)Seven years, if no body or person comes for the claim as the next of kin , such  money will be revert to the Burkina Faso government  treasury if nobody applies as the next of Kin to claim of the fund. Consequently, It is upon this respect, I seek to present you as a foreign partner to stand in as the next of kin to the late Mr. Andreas Schranner since no one will come up for the claim. 
 

Upon acceptance of this proposal, I shall send to you by mail the ASB Bank "Next of Kin Payment Application Text Form" as well as detailed information on how this deal would be carried out. 
The money will be shared in the ratio: 50% percent for me, 40% percent for you and 10% percent for any arising contingencies during the Course of this transaction. I guarantee that this will be executed under legitimate arrangement that will protect you from any breach of the law, as I will use my position in the Bank's here to perfect this business transaction & secure approvals and guarantee the successful execution of this transaction. 
 

Please be informed that your utmost confidentiality is required. If this interests you, I want to remind you of the confidentiaality of this Transaction at hand whatever your decision is. 
I await your urgent response. Your detailed reply should contain your telephone,Mobile and fax numbers with your full name for easier communication for an  onward proceeding.Please bear in mind this is risk free business transaction 
 
 

Thanks. 

Dr.lamine usman 
Audits & Accounts Manger 


-----------------------------------------------------------------
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 10:44:49 2008
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Date: Wed, 17 Dec 2008 11:44:47 +0100
From: alessandro <alefisc@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: One Guitarist, One Drummer
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Randy Holden / "Population II" (ca. 1970)

slightly louder (duller? fuller?) than any current noise/noisy basic duos,
but about 40 years ago

cheers
Alessandro

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Randy Holden / &quot;Population II&quot; (ca. 1970) <br><br>slightly louder (duller? fuller?) than any current noise/noisy basic duos, but about 40 years ago<br><br>cheers<br>Alessandro<br>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 10:55:38 2008
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From: "Stephen Moyes" <stephenmoyes@blueyonder.co.uk>
To: <Loopers-Delight@loopers-delight.com>
References: <20081216230804.M49320@cruzio.com>
Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
Date: Wed, 17 Dec 2008 10:55:46 -0000
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Nels Cline and Gregg Bendian's "Interstellar Space Revisited" is a superb 
reworking of Coltrane and Ali's masterpiece.
The original lineup of the B-52s survived for years without a bass player.
Pig Destroyer - guitar/drums/vocals - I particularly like their album 
Terrifyer from 2004.

Guitar/bass duets are one of my favourite things to do. They really let you 
open up and use the full range of the instrument's sounds without it 
sounding a complete mess (unless you want it to). This thread has inspired 
me to do some more - defianately a project to pursue in 2009.

Cheers,

Steve
www.stevemoyes.org.uk




----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: <loopers-delight@loopers-delight.com>
Sent: Tuesday, December 16, 2008 11:17 PM
Subject: One Guitarist, One Drummer was: Altered Tunings


>
>
> --Mark wrote:
> "have to have a bass player.. infact it was just me, the drummer and the 
> singer, she also fired off
> samples. small band... big noise!!!"
>
> Yeah, it's cool that you said this, Mark.  Lately I"ve been fascinated by 
> the concept of a band with
> only a drummer and a guitarist (with augmenting effects).
>
> I'd never really listened to the Yeah Yeah Yeahs (mostly because their 
> singer puts me off a little bit)
> but  a friend of mine who is enamored with noise and distortion guitar 
> (and who I really respect a lot
> as a musician)  hipped me to the fact that this guitarist is really cool 
> and innovative:  and that's his
> approach.   I also found out that he is using a lot of live looping to 
> clone himself in live shows
> (to pull off parts that are obviously overdubbed on their records).
>
> I picked up a CD and an EP of their's and have really enjoyed what he's 
> doing with one guitar.
>
> Also,  my multi-instrumentalist friend, John Connell (who plays everything 
> from traditional Persian
> Ney and Daf to synthesizer to Black Metal guitar and who was one of the 
> really cool newbies at the
> festival this year)  said a really cool thing that I never thought about.
>
> He said that most of the ethnic world uses this paradigm:   One string 
> instrumentalist and one
> drummer.
>
> There is an amazing amount of freedom when there is only one guitarist and 
> one drummer
> and there is also a primalness that is very cool and deep potentially.
>
> I really love that thought...................I'm just being the equivalent 
> of a Tuareg playing
> guimbry and an accompanying Bendir , when I play electric guitar and drums 
> (thanks to looping)
>
> What other single guitar/drum groups are out there, per chance?
>
> PS  by the way,   I changed the name of this thread, purposefully for 
> future researchers in our
> archives.   I think it's better to have more things to search in the 
> search archives (but I also
> am mildly afraid that I'll upset the person who started the original 
> thread when I do this)
>
>
> 


From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 12:46:51 2008
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Date: Wed, 17 Dec 2008 04:46:49 -0800
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I'm working with various vocalists and drummers to be a variety of two to
three person connections.  Me looping melodies (keyboard/guitar/dulcimer/yan
qin/accordian/etc) and also beats going with the beats played live (live
looping style).  Next big show should be showing off one or both of those.
Sometimes even loop my own beats, if Im just pulling some
congos/tablas/occasionally live drums.

For me, having 2-3 differing creationists (not the christian kind, the
musical kind!) doing whatever they do, or less, creates a lovely live
interface.




Nevyn Nowhere
http://www.happyhumans.org
Sad Music for Happy Humans

PS: Check out the PDX Electronics music mailing list.  This isnt for techno
kids like nwtekno.org, but for folks who like utilizing modern technology to
create SONGS!

Join here:

http://groups.google.com/group/pdxelectronicmusic





On Tue, Dec 16, 2008 at 3:17 PM, Rick Walker <looppool@cruzio.com> wrote:

>
>
> --Mark wrote:
> "have to have a bass player.. infact it was just me, the drummer and the
> singer, she also fired off
> samples. small band... big noise!!!"
>
> Yeah, it's cool that you said this, Mark.  Lately I"ve been fascinated by
> the concept of a band with
> only a drummer and a guitarist (with augmenting effects).
>
> I'd never really listened to the Yeah Yeah Yeahs (mostly because their
> singer puts me off a little bit)
> but  a friend of mine who is enamored with noise and distortion guitar (and
> who I really respect a lot
> as a musician)  hipped me to the fact that this guitarist is really cool
> and innovative:  and that's his
> approach.   I also found out that he is using a lot of live looping to
> clone himself in live shows
> (to pull off parts that are obviously overdubbed on their records).
>
> I picked up a CD and an EP of their's and have really enjoyed what he's
> doing with one guitar.
>
> Also,  my multi-instrumentalist friend, John Connell (who plays everything
> from traditional Persian
> Ney and Daf to synthesizer to Black Metal guitar and who was one of the
> really cool newbies at the
> festival this year)  said a really cool thing that I never thought about.
>
> He said that most of the ethnic world uses this paradigm:   One string
> instrumentalist and one
> drummer.
>
> There is an amazing amount of freedom when there is only one guitarist and
> one drummer
> and there is also a primalness that is very cool and deep potentially.
>
> I really love that thought...................I'm just being the equivalent
> of a Tuareg playing
> guimbry and an accompanying Bendir , when I play electric guitar and drums
> (thanks to looping)
>
> What other single guitar/drum groups are out there, per chance?
>
> PS  by the way,   I changed the name of this thread, purposefully for
> future researchers in our
> archives.   I think it's better to have more things to search in the search
> archives (but I also
> am mildly afraid that I'll upset the person who started the original thread
> when I do this)
>
>
>

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<div>I&#39;m working with various vocalists and drummers to be a variety of two to three person connections.&nbsp; Me looping melodies (keyboard/guitar/dulcimer/yan qin/accordian/etc) and also beats going with the beats played live (live looping style).&nbsp; Next big show should be showing off one or both of those.&nbsp; Sometimes even loop my own beats, if Im just pulling some congos/tablas/occasionally live drums.</div>

<div>&nbsp;</div>
<div>For me, having 2-3 differing creationists (not the christian kind, the musical kind!) doing whatever they do, or less, creates a lovely live interface.</div>
<div>&nbsp;</div>
<div>&nbsp;</div>
<div>&nbsp;</div>
<div>&nbsp;</div>
<div>Nevyn Nowhere</div>
<div><a href="http://www.happyhumans.org/">http://www.happyhumans.org</a></div>
<div>Sad Music for Happy Humans</div>
<div><br>PS: Check out the PDX Electronics music mailing list.&nbsp; This isnt for techno kids like <a href="http://nwtekno.org">nwtekno.org</a>, but for folks who like utilizing modern technology to create SONGS!</div>
<div>&nbsp;</div>
<div>Join here:</div>
<div>&nbsp;</div>
<div><a href="http://groups.google.com/group/pdxelectronicmusic">http://groups.google.com/group/pdxelectronicmusic</a></div>
<div>&nbsp;</div>
<div>&nbsp;</div>
<div><br><br>&nbsp;</div>
<div class="gmail_quote">On Tue, Dec 16, 2008 at 3:17 PM, Rick Walker <span dir="ltr">&lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid"><br><br>--Mark wrote:<br>&quot;have to have a bass player.. infact it was just me, the drummer and the singer, she also fired off<br>
samples. small band... big noise!!!&quot;<br><br>Yeah, it&#39;s cool that you said this, Mark. &nbsp;Lately I&quot;ve been fascinated by the concept of a band with<br>only a drummer and a guitarist (with augmenting effects).<br>
<br>I&#39;d never really listened to the Yeah Yeah Yeahs (mostly because their singer puts me off a little bit)<br>but &nbsp;a friend of mine who is enamored with noise and distortion guitar (and who I really respect a lot<br>
as a musician) &nbsp;hipped me to the fact that this guitarist is really cool and innovative: &nbsp;and that&#39;s his<br>approach. &nbsp; I also found out that he is using a lot of live looping to clone himself in live shows<br>(to pull off parts that are obviously overdubbed on their records).<br>
<br>I picked up a CD and an EP of their&#39;s and have really enjoyed what he&#39;s doing with one guitar.<br><br>Also, &nbsp;my multi-instrumentalist friend, John Connell (who plays everything from traditional Persian<br>Ney and Daf to synthesizer to Black Metal guitar and who was one of the really cool newbies at the<br>
festival this year) &nbsp;said a really cool thing that I never thought about.<br><br>He said that most of the ethnic world uses this paradigm: &nbsp; One string instrumentalist and one<br>drummer.<br><br>There is an amazing amount of freedom when there is only one guitarist and one drummer<br>
and there is also a primalness that is very cool and deep potentially.<br><br>I really love that thought...................I&#39;m just being the equivalent of a Tuareg playing<br>guimbry and an accompanying Bendir , when I play electric guitar and drums (thanks to looping)<br>
<br>What other single guitar/drum groups are out there, per chance?<br><br>PS &nbsp;by the way, &nbsp; I changed the name of this thread, purposefully for future researchers in our<br>archives. &nbsp; I think it&#39;s better to have more things to search in the search archives (but I also<br>
am mildly afraid that I&#39;ll upset the person who started the original thread when I do this)<br><br><br></blockquote></div><br>

------=_Part_9961_32348663.1229518009178--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 12:49:46 2008
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so it's just a tube amp, really?
I really liked the sound...

-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 12:50:36 2008
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all the best in the future, Mark :)
-- 
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My duo, the Sandbox, is me on guitars and looping, and Steve Rubin on
Handsonic. We haven't recorded in a while, but we have a whole cd's worth
(free to listen to) at http://cdbaby.com/cd/sandbox.

I was first inspired into the percussion-and-guitar format by seeing Paul
Dresher perform Slow Fire (an amazing show, catch it if you ever get a
chance) with only a drummer (electronic) and his looping system for
accompaniment. I like the format because then I am free to modulate or go
pretty anywhere harmonically without worrying whether the bass player/piano
player/horn player is in the same key.

On Wed, Dec 17, 2008 at 5:44 AM, alessandro <alefisc@gmail.com> wrote:

> Randy Holden / "Population II" (ca. 1970)
>
> slightly louder (duller? fuller?) than any current noise/noisy basic duos,
> but about 40 years ago
>
> cheers
> Alessandro
>



-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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My duo, the Sandbox, is me on guitars and looping, and Steve Rubin on Handsonic. We haven&#39;t recorded in a while, but we have a whole cd&#39;s worth (free to listen to) at <a href="http://cdbaby.com/cd/sandbox">http://cdbaby.com/cd/sandbox</a>.<br>
<br>I was first inspired into the percussion-and-guitar format by seeing Paul Dresher perform Slow Fire (an amazing show, catch it if you ever get a chance) with only a drummer (electronic) and his looping system for accompaniment. I like the format because then I am free to modulate or go pretty anywhere harmonically without worrying whether the bass player/piano player/horn player is in the same key.<br>
<br><div class="gmail_quote">On Wed, Dec 17, 2008 at 5:44 AM, alessandro <span dir="ltr">&lt;<a href="mailto:alefisc@gmail.com">alefisc@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Randy Holden / &quot;Population II&quot; (ca. 1970) <br><br>slightly louder (duller? fuller?) than any current noise/noisy basic duos, but about 40 years ago<br><br>cheers<br><font color="#888888">Alessandro<br>
</font></blockquote></div><br><br clear="all"><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>


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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 12:59:23 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: OT : monophonic analog synth
Date: Wed, 17 Dec 2008 14:59:17 +0200
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hi,

for a new album project of mine, i would like to use a fully analog =
monophonic synth with arpeggiator, ring modulator, various lfo forms and =
modulation matrix. what would you suggest?

i have been working with the carrier out ( sinus wave ) from my mooger =
ring modulator with various analog and hardware fx, and man i was in =
analog sound heaven! :)

hey, by the way my new album will be released in january in the states. =
i am really very proud of it. will send an email to the list when it is =
officially released.

best.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Altered Realities" album is out on New Albion Records:
chosen as"Album of the year 2007" by All About Jazz Magazine
www.newalbion.com/NA_CDS/NA131/NA131.htm
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>for a new album project of mine, i would like to use a fully analog =

monophonic synth with arpeggiator, ring modulator, various lfo forms and =

modulation matrix. what would you suggest?</DIV>
<DIV>&nbsp;</DIV>
<DIV>i have been working with the carrier out ( sinus wave ) from my =
mooger ring=20
modulator with various analog and hardware fx, and man i was in analog =
sound=20
heaven! :)</DIV>
<DIV>&nbsp;</DIV>
<DIV>hey, by the way my new album will be released in january in the =
states. i=20
am really very proud of it. will send an email to the list when it is =
officially=20
released.</DIV>
<DIV>&nbsp;</DIV>
<DIV>best.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is =
out on New=20
Albion Records:<BR>chosen as"Album of the year 2007" by All About Jazz=20
Magazine<BR><A=20
href=3D"http://www.newalbion.com/NA_CDS/NA131/NA131.htm">www.newalbion.co=
m/NA_CDS/NA131/NA131.htm</A><BR><A=20
href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000=
GFLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=
=3DUTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A=
/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF=
8</A></DIV></BODY></HTML>

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Well, while I'm slowly working on incorporating my own vocal loops live int=
o
my sessions... currently I do a combo of taking precorded growls/screams of
mine, and much moreso, take live loops of various female
vocalists/sound-vocal experimenters (and the occasional indian male, whom
I'm supposed to have live samples from soon)... and also other live
musicians, be they drummers, keys, guitar (or my own sampling of such
instruments and much less normal).... aka, vocally, lots of live
samples/working with live (check out "tears in time" from the
myspace/website to see a strong vocal sampling example... but 6/10 of the
last couple years are songs based off live acapella loops by either
wyrd/experimental lasses, my wife's mom singing traditional korean style, o=
r
whatever else I run across.....  Hope you guys will take a listen and share
some thoughts.  New stuff uploaded in a couple days, or tomorrow, if I'm
very productive, or is that today noww?  Damn the snow in the region thaht
doesn't usually have it, it skews the mental clock.

Go Portland Oregon?  I think so!

Nevyn Nowhere
http://www.happyhumans.org
http://www.myspace.com/sadmusicforhappyhumans
Sad Music for Happy Humans

On Tue, Dec 16, 2008 at 12:39 PM, Rainer Straschill <
moinsound@googlemail.com> wrote:

> > Anyone have any recommendations or self-props?
>
> Stating the obvious here, but there's Kid Beyond (who also played
> Rick's festival - I think in 2005?). A looping beatboxer/instrument
> imitator - and astounding as that, but I have to admit I prefer his
> covers to his originals (here's one originally by Portishead:
> http://www.youtube.com/watch?v=3DnVusmB-iMEA). He's using Ableton Live,
> btw.
>
> Then there's Pushing Air, who also played some of Rick's festivals (I
> know for sure about the 06 one, because I had her at the kybermusik
> thing).
>
> I seem to remember that David Moss also almost did something like this
> - on his duet collaboration album "Time Stories", Heiner Goebbels
> samples him.
>
> And of course, there's a lot of vocal work on my next album "Wie gro=DF
> ist die Luft ?" - release date December 24th of 2008 ;)
>
>          Rainer
>
>

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<div>Well, while I&#39;m slowly working on incorporating my own vocal loops=
 live into my sessions... currently I do a combo of taking precorded growls=
/screams of mine, and much moreso, take live loops of various female vocali=
sts/sound-vocal experimenters (and the occasional indian male, whom I&#39;m=
 supposed to have live samples from soon)... and also other live musicians,=
 be they drummers, keys, guitar (or my own sampling of such instruments and=
 much less normal).... aka, vocally, lots of live samples/working with live=
 (check out &quot;tears in time&quot; from the myspace/website to see a str=
ong vocal sampling example... but 6/10 of the last couple years are songs b=
ased off live acapella loops by either wyrd/experimental lasses, my wife&#3=
9;s mom singing traditional korean style, or whatever else I run across....=
.&nbsp; Hope you guys will take a listen and share some thoughts.&nbsp; New=
 stuff uploaded in a couple days, or tomorrow, if I&#39;m very productive, =
or is that today noww?&nbsp; Damn the snow in the region thaht doesn&#39;t =
usually have it, it skews the mental clock.</div>

<div>&nbsp;</div>
<div>Go Portland Oregon?&nbsp; I think so!</div>
<div>&nbsp;</div>
<div>Nevyn Nowhere</div>
<div><a href=3D"http://www.happyhumans.org/">http://www.happyhumans.org</a>=
</div>
<div><a href=3D"http://www.myspace.com/sadmusicforhappyhumans">http://www.m=
yspace.com/sadmusicforhappyhumans</a></div>
<div>Sad Music for Happy Humans<br><br></div>
<div class=3D"gmail_quote">On Tue, Dec 16, 2008 at 12:39 PM, Rainer Strasch=
ill <span dir=3D"ltr">&lt;<a href=3D"mailto:moinsound@googlemail.com">moins=
ound@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0=
px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">&gt; Anyone have any recommendat=
ions or self-props?<br><br>Stating the obvious here, but there&#39;s Kid Be=
yond (who also played<br>
Rick&#39;s festival - I think in 2005?). A looping beatboxer/instrument<br>=
imitator - and astounding as that, but I have to admit I prefer his<br>cove=
rs to his originals (here&#39;s one originally by Portishead:<br><a href=3D=
"http://www.youtube.com/watch?v=3DnVusmB-iMEA" target=3D"_blank">http://www=
.youtube.com/watch?v=3DnVusmB-iMEA</a>). He&#39;s using Ableton Live,<br>
btw.<br><br>Then there&#39;s Pushing Air, who also played some of Rick&#39;=
s festivals (I<br>know for sure about the 06 one, because I had her at the =
kybermusik<br>thing).<br><br>I seem to remember that David Moss also almost=
 did something like this<br>
- on his duet collaboration album &quot;Time Stories&quot;, Heiner Goebbels=
<br>samples him.<br><br>And of course, there&#39;s a lot of vocal work on m=
y next album &quot;Wie gro=DF<br>ist die Luft ?&quot; - release date Decemb=
er 24th of 2008 ;)<br>
<font color=3D"#888888"><br>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rainer<br><br=
></font></blockquote></div><br>

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Subject: Re: monophonic analog synth
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The dear old Roland SH-101 did all of that. :)
eBay's got something like it I think.
http://tinyurl.com/5zjwz3
  ----- Original Message -----=20
  From: Erdem Helvacioglu=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, December 17, 2008 12:59 PM
  Subject: OT : monophonic analog synth


  hi,

  for a new album project of mine, i would like to use a fully analog =
monophonic synth with arpeggiator, ring modulator, various lfo forms and =
modulation matrix. what would you suggest?

  i have been working with the carrier out ( sinus wave ) from my mooger =
ring modulator with various analog and hardware fx, and man i was in =
analog sound heaven! :)

  hey, by the way my new album will be released in january in the =
states. i am really very proud of it. will send an email to the list =
when it is officially released.

  best.

  Erdem Helvacioglu
  www.erdemhelvacioglu.com
  www.myspace.com/erdemhelvacioglu
  * * * * * * * * * * * * * * * * * * * *
  "Altered Realities" album is out on New Albion Records:
  chosen as"Album of the year 2007" by All About Jazz Magazine
  www.newalbion.com/NA_CDS/NA131/NA131.htm
  =
www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D8-1=
/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8
------=_NextPart_000_01FB_01C96049.8083A500
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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 6.00.6000.16762" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>The dear old Roland SH-101 did all of that. =
:)</FONT></DIV>
<DIV><FONT size=3D2>eBay's got something like it I think.</FONT></DIV>
<DIV><FONT size=3D2><A=20
href=3D"http://tinyurl.com/5zjwz3">http://tinyurl.com/5zjwz3</A></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=3Derdemhel@tnn.net href=3D"mailto:erdemhel@tnn.net">Erdem =
Helvacioglu</A>=20
  </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, December 17, =
2008 12:59=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> OT : monophonic analog =

  synth</DIV>
  <DIV><BR></DIV>
  <DIV>hi,</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>for a new album project of mine, i would like to use a fully =
analog=20
  monophonic synth with arpeggiator, ring modulator, various lfo forms =
and=20
  modulation matrix. what would you suggest?</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>i have been working with the carrier out ( sinus wave ) from my =
mooger=20
  ring modulator with various analog and hardware fx, and man i was in =
analog=20
  sound heaven! :)</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>hey, by the way my new album will be released in january in the =
states. i=20
  am really very proud of it. will send an email to the list when it is=20
  officially released.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>best.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Erdem Helvacioglu<BR><A=20
  =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
  =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
  * * * * * * * * * * * * * * * * * * *<BR>"Altered Realities" album is =
out on=20
  New Albion Records:<BR>chosen as"Album of the year 2007" by All About =
Jazz=20
  Magazine<BR><A=20
  =
href=3D"http://www.newalbion.com/NA_CDS/NA131/NA131.htm">www.newalbion.co=
m/NA_CDS/NA131/NA131.htm</A><BR><A=20
  =
href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000=
GFLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=
=3DUTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A=
/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF=
8</A></DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 13:43:25 2008
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References: <9ab0c76f0812170039o456ce4d0v10e5fc6ad29075de@mail.gmail.com>
Subject: Re: COMPLETELY OT!!! I got Married!!!
Date: Wed, 17 Dec 2008 13:43:34 -0000
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Congratulations Mark and Hilde, and good luck for the future.

Steve

----- Original Message ----- 
From: mark francombe
To: Loopers-Delight@loopers-delight.com
Sent: Wednesday, December 17, 2008 8:39 AM
Subject: COMPLETELY OT!!! I got Married!!!



Totally Offtopic, but a quick shout out to all my friends at LD to let you 
know that Hilde and me got married on Monday!!!
Wish us luck!!!

Heres a pic of the actual moment of "I do"!!!

later


MArk 


From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 14:25:28 2008
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Date: Wed, 17 Dec 2008 09:21:47 -0500
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Mark congradulations, that's great.

All the best to you and Hilde...

Jim

On Wed, Dec 17, 2008 at 3:39 AM, mark francombe <mark@markfrancombe.com>wrote:

>
> Totally Offtopic, but a quick shout out to all my friends at LD to let you
> know that Hilde and me got married on Monday!!!
> Wish us luck!!!
>
> Heres a pic of the actual moment of "I do"!!!
>
> later
>
>
> MArk
>



-- 
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

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<div>Mark congradulations, that&#39;s great.</div>
<div>&nbsp;</div>
<div>All the best to you and Hilde...</div>
<div>&nbsp;</div>
<div>Jim<br><br></div>
<div class="gmail_quote">On Wed, Dec 17, 2008 at 3:39 AM, mark francombe <span dir="ltr">&lt;<a href="mailto:mark@markfrancombe.com">mark@markfrancombe.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid"><br>Totally Offtopic, but a quick shout out to all my friends at LD to let you know that Hilde and me got married on Monday!!!<br>
Wish us luck!!!<br><br>Heres a pic of the actual moment of &quot;I do&quot;!!!<br><br>later<br><font color="#888888"><br><br>MArk<br></font></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin &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>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 14:48:02 2008
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Subject: re:  Acapella Loopers
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Uh,  not to be too self promoting, but I did an entirely 
acapella live looping CD and also did voice only performances for a full year of 
my life in 2005 and still do a fair amount of acapella vocal work in my current shows 
(though I'm also doing a Dayglo Orange Plastic show currently as well).

I've been on this kick (starting that year)  to, once a year, take the thing that I want to do 
to grow that scares me more than anything and forcing myself to do it.

that year I had the desire to hit the stage and only use my voice.
I had been working really hard on several invented and traditional extended vocal 
techniques for a while (different kinds of overtone singing, trill singing, uvulal singing, 
percussive body manipulations of the chest cavity to control the timbre, yodelling, hum whistling, 
whistle humming (yes, they are different!), faux industrial beat box and then a whole slew 
of attempts to replicate electronics instruments vocally.

I booked myself into the Woodstockhausen festival that year and did an entire 15 minute piece 
using only my mic, my loopers and some sound effects.   this led to a 30 minute performance 
at Y2K5  and then I worked myself up to doing several different shows, increasing the length of time 
on stage until by the end of that year I did a series of vocal only performances that lasted an hour 
and more.

I put out recording called FAUX VOIX at the end of that experience (which included a few vocal 
performances from my '03 European/UK tour).   I also had a bunch of experments that were 
prompted by my frienship and correspondance with Cara Quinn (aka Goddess at the time).

One day I was typing to her, talking about something and I said,  "Well , you see what I mean, don't 
you"   and she replied,   "No , I don't see what you mean"

I thought she was being contentious so I said "why don't you see what I mean" 

and she replied,  "Because I'm blind"

"Blind?"  I replied,  "then how are you chatting with me in real time?"

And she said,  "because I'm using a text to voice editor"    It interprets your words and then speaks 
them to me in a computer voice."

Well, that just totally fascinated me.   We talked more and she sent me this software program that she 
uses (or used to use, it's been a while since I"ve talked to her about it).

Anway,  recognizing that all vowel sounds are just comb filter manipulations of the sound 
our voice boxes put out,   I started typing in some experimental 'compositions' just using vowels
and sending them to Cara.   She did the same.  It was a really exciting experiment.

this particular program allowed the use of different languages (quite a few, actually) and every 
language pronounces vowel sounds with slightly different timbral emphasis.

One of them ,  Korean,  obviously has some rule that says that if a long vowel sound ends a word 
then the person speaking drops off the pitch at the end of the word.

By using Korean , I could fake out the computer by typing a sequence  like 

'oooooooooooooooooo'         after a certain time,  the vowels' pitch would drop  and it would keep 
dropping periodically.

In this way I was able to get different pitches in phrases.

I typed hundreds of expereiments and then assemble these short snippets inside 
of a sample program (Fruity Loops) and triggered them to create phrases and melodies.

There are a couple of these experiments on FAUX VOIX (and one on my website under the 
FAUX VOIX link).

I also found a website that if you typed in a word,  it would find that word sung in a popular 
commercially released song and just play only that sample.   In this way,  you could write lyrics 
and the program would play the results back in a very amusing and unusual way.

Anyway,  that was what that record was about.     Some fans of mine think it's their favorite 
recording I've made as a solo artist.   It's certainly the strangest and it definitely sold 
a big fat hardly any copies when I released it.............lol.........I'm proud of it, though.

If you want to increase this starving artists' coffers around the Holidays,  it's available for $10 by 
paypalling me.............nudge, nudge, hint, hint., wink, wink.

okay,  self promotion over................whew!  <he listens to the entire digest list sighing heavily>

--


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Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
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I was not aware of this CD with Nels. I will have to check it out. The 
question is, does it earn the title of Interstellar Space Revisited? That 
album of Coltrane's is insurpassable, allowing only remote approximations to 
its level.

Kris


> Nels Cline and Gregg Bendian's "Interstellar Space Revisited" is a superb 
> reworking of Coltrane and Ali's masterpiece.
> The original lineup of the B-52s survived for years without a bass player.
> Pig Destroyer - guitar/drums/vocals - I particularly like their album 
> Terrifyer from 2004.
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 15:22:51 2008
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don't post here too often, but my band Lambic, is most often a duo,  
with Paul Sullivan on guitar and effects, and Stephen Moses on drums,  
trombone, and effects. More info and music is here:  http://www.myspace.com/lambic

OT to this thread but still hopefully of interest to people on this  
list is a recent show at the Tea Lounge in Brooklyn, NY with our  
friend and occasional collaborator, the great Percy Jones on bass.  
Percy recorded this most recent gig of ours, and has kindly made both  
sets available for free download at http://www.dimeadozen.org/ (search  
for Lambic with Percy Jones).

Thanks,
Paul
http://paulsullivan.com

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Date: Wed, 17 Dec 2008 07:23:59 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re:  Acapella Loopers
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10 bucks...hmmm..does that include shipping? (San Francisco)=A0:)=0A=0AWhat=
's your paypal account?=0A=0A=0A=0A----- Original Message ----=0AFrom: Rick=
 Walker <looppool@cruzio.com>=0ATo: loopers-delight@loopers-delight.com=0AS=
ent: Wednesday, December 17, 2008 6:46:14 AM=0ASubject: re: Acapella Looper=
s=0A=0A=0AUh,=A0 not to be too self promoting, but I did an entirely =0Aaca=
pella live looping CD and also did voice only performances for a full year =
of =0Amy life in 2005 and still do a fair amount of acapella vocal work in =
my current shows =0A(though I'm also doing a Dayglo Orange Plastic show cur=
rently as well).=0A=0AI've been on this kick (starting that year)=A0 to, on=
ce a year, take the thing that I want to do =0Ato grow that scares me more =
than anything and forcing myself to do it.=0A=0Athat year I had the desire =
to hit the stage and only use my voice.=0AI had been working really hard on=
 several invented and traditional extended vocal =0Atechniques for a while =
(different kinds of overtone singing, trill singing, uvulal singing, =0Aper=
cussive body manipulations of the chest cavity to control the timbre, yodel=
ling, hum whistling, =0Awhistle humming (yes, they are different!), faux in=
dustrial beat box and then a whole slew =0Aof attempts to replicate electro=
nics instruments vocally.=0A=0AI booked myself into the Woodstockhausen fes=
tival that year and did an entire 15 minute piece =0Ausing only my mic, my =
loopers and some sound effects.=A0 this led to a 30 minute performance =0Aa=
t Y2K5=A0 and then I worked myself up to doing several different shows, inc=
reasing the length of time =0Aon stage until by the end of that year I did =
a series of vocal only performances that lasted an hour =0Aand more.=0A=0AI=
 put out recording called FAUX VOIX at the end of that experience (which in=
cluded a few vocal =0Aperformances from my '03 European/UK tour).=A0 I also=
 had a bunch of experments that were =0Aprompted by my frienship and corres=
pondance with Cara Quinn (aka Goddess at the time).=0A=0AOne day I was typi=
ng to her, talking about something and I said,=A0 "Well , you see what I me=
an, don't =0Ayou"=A0 and she replied,=A0 "No , I don't see what you mean"=
=0A=0AI thought she was being contentious so I said "why don't you see what=
 I mean" =0A=0Aand she replied,=A0 "Because I'm blind"=0A=0A"Blind?"=A0 I r=
eplied,=A0 "then how are you chatting with me in real time?"=0A=0AAnd she s=
aid,=A0 "because I'm using a text to voice editor"=A0 =A0 It interprets you=
r words and then speaks =0Athem to me in a computer voice."=0A=0AWell, that=
 just totally fascinated me.=A0 We talked more and she sent me this softwar=
e program that she =0Auses (or used to use, it's been a while since I"ve ta=
lked to her about it).=0A=0AAnway,=A0 recognizing that all vowel sounds are=
 just comb filter manipulations of the sound =0Aour voice boxes put out,=A0=
 I started typing in some experimental 'compositions' just using vowels=0Aa=
nd sending them to Cara.=A0 She did the same.=A0 It was a really exciting e=
xperiment.=0A=0Athis particular program allowed the use of different langua=
ges (quite a few, actually) and every =0Alanguage pronounces vowel sounds w=
ith slightly different timbral emphasis.=0A=0AOne of them ,=A0 Korean,=A0 o=
bviously has some rule that says that if a long vowel sound ends a word =0A=
then the person speaking drops off the pitch at the end of the word.=0A=0AB=
y using Korean , I could fake out the computer by typing a sequence=A0 like=
 =0A=0A'oooooooooooooooooo'=A0 =A0 =A0 =A0 after a certain time,=A0 the vow=
els' pitch would drop=A0 and it would keep =0Adropping periodically.=0A=0AI=
n this way I was able to get different pitches in phrases.=0A=0AI typed hun=
dreds of expereiments and then assemble these short snippets inside =0Aof a=
 sample program (Fruity Loops) and triggered them to create phrases and mel=
odies.=0A=0AThere are a couple of these experiments on FAUX VOIX (and one o=
n my website under the =0AFAUX VOIX link).=0A=0AI also found a website that=
 if you typed in a word,=A0 it would find that word sung in a popular =0Aco=
mmercially released song and just play only that sample.=A0 In this way,=A0=
 you could write lyrics =0Aand the program would play the results back in a=
 very amusing and unusual way.=0A=0AAnyway,=A0 that was what that record wa=
s about.=A0 =A0 Some fans of mine think it's their favorite =0Arecording I'=
ve made as a solo artist.=A0 It's certainly the strangest and it definitely=
 sold =0Aa big fat hardly any copies when I released it.............lol....=
.....I'm proud of it, though.=0A=0AIf you want to increase this starving ar=
tists' coffers around the Holidays,=A0 it's available for $10 by =0Apaypall=
ing me.............nudge, nudge, hint, hint., wink, wink.=0A=0Aokay,=A0 sel=
f promotion over................whew!=A0 <he listens to the entire digest l=
ist sighing heavily>=0A=0A--=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 15:27:20 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: COMPLETELY OT!!! I got Married!!!
Date: Wed, 17 Dec 2008 07:27:13 -0800
To: Loopers-Delight@loopers-delight.com
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Congratulations . . . blessings . . . and many happy years.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 15:30:05 2008
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Subject: Re: COMPLETELY OT!!! I got Married!!!
Date: Wed, 17 Dec 2008 16:30:02 +0100
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This is a multi-part message in MIME format.

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My best wishes, Mark.=20

fabio
  ----- Original Message -----=20
  From: mark francombe=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, December 17, 2008 9:39 AM
  Subject: COMPLETELY OT!!! I got Married!!!



  Totally Offtopic, but a quick shout out to all my friends at LD to let =
you know that Hilde and me got married on Monday!!!
  Wish us luck!!!

  Heres a pic of the actual moment of "I do"!!!

  later


  MArk



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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.19/1853 - Release Date: =
17/12/2008 8.31

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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>My best wishes, Mark. =
</FONT></DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080></FONT>&nbsp;</DIV>
<DIV><FONT face=3D"Book Antiqua" color=3D#000080>fabio</FONT></DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000080 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=3Dmark@markfrancombe.com =
href=3D"mailto:mark@markfrancombe.com">mark=20
  francombe</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, December 17, =
2008 9:39=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> COMPLETELY OT!!! I got =

  Married!!!</DIV>
  <DIV><BR></DIV><BR>Totally Offtopic, but a quick shout out to all my =
friends=20
  at LD to let you know that Hilde and me got married on =
Monday!!!<BR>Wish us=20
  luck!!!<BR><BR>Heres a pic of the actual moment of "I=20
  do"!!!<BR><BR>later<BR><BR><BR>MArk<BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
- <A=20
  href=3D"http://www.avg.com">http://www.avg.com</A> <BR>Version: =
8.0.176 / Virus=20
  Database: 270.9.19/1853 - Release Date: 17/12/2008=20
8.31<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0052_01C96064.B61FE730--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 15:34:19 2008
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Date: Wed, 17 Dec 2008 09:34:12 -0600
From: Daryl Shawn <highhorse@mhorse.com>
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Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
References: <20081216230804.M49320@cruzio.com> <00a401c96036$03dd1210$cb04c150@yourc9d9764718> <BLU0-SMTP39D1C9D6B77C452802D704DCF20@phx.gbl>
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I think it fully earns the title. I find it pretty incredible. I'd be 
curious to hear your reaction.

Gorgeous version of "Lonnie's Lament" on it, too, after all the chaos.

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

> I was not aware of this CD with Nels. I will have to check it out. The 
> question is, does it earn the title of Interstellar Space Revisited? 
> That album of Coltrane's is insurpassable, allowing only remote 
> approximations to its level.
>
> Kris
>
>
>> Nels Cline and Gregg Bendian's "Interstellar Space Revisited" is a 
>> superb reworking of Coltrane and Ali's masterpiece.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 15:38:36 2008
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Ya, mate, I mentioned yer "Faux Voix" as the kind of thing I'd be 
looking for! I LOVE it. Great to know the background.

Thanks to the flood of other recs, I have a lot of listening to do 
today, with gusto.

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


> I put out recording called FAUX VOIX at the end of that experience (which included a few vocal 
> performances from my '03 European/UK tour).   

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 15:56:38 2008
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Yes, I agree with Daryl. Coltrane's I S is, indeed, unsurpassable and is one 
of my all time favourite bits of recorded music. I first listened to I S 
Revisited expecting either a pale imitation or something with little 
noticeable connection to the original. It turned out to be neither. It's 
actually very exciting and when I listen to it I almost forget that it's a 
'cover' of Interstellar Space. Quite an achievement.

Steve

----- Original Message ----- 
From: "Daryl Shawn" <highhorse@mhorse.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 17, 2008 3:34 PM
Subject: Re: One Guitarist, One Drummer was: Altered Tunings


>I think it fully earns the title. I find it pretty incredible. I'd be 
>curious to hear your reaction.
>
> Gorgeous version of "Lonnie's Lament" on it, too, after all the chaos.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>> I was not aware of this CD with Nels. I will have to check it out. The 
>> question is, does it earn the title of Interstellar Space Revisited? That 
>> album of Coltrane's is insurpassable, allowing only remote approximations 
>> to its level.
>>
>> Kris
>>
>>
>>> Nels Cline and Gregg Bendian's "Interstellar Space Revisited" is a 
>>> superb reworking of Coltrane and Ali's masterpiece.
>
> 


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From: scott hansen <evanpeewee@yahoo.com>
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Subject: 1 gtr, 1 drummer // gear reviews in GP // andre lf's sound / experimenting
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not sure if these were mentioned in the 1 gtr/1 drummer thing:

david torn's 1st solo album, "Best Laid Plans" w/ geoff gordon-although i t=
hink he's listed more as percussionist, but i love that album

and ani difranco when she was on tour a lot in the late 90's played w/ just=
 a drummer, a friend of mine said live w/ just a drummer she was very power=
ful.

wasn't sure if anyone saw in the newest guitar player (and again, i can't e=
ven remember who was on the cover) there is reviews of the line 6 m13 pedal=
 and they have a review of the boss slicer. now the funny thing i thought a=
bout the reviews, they said the m13 was good in combining all the line 6 pe=
dals in one + looper, but the slicer review was weird,=A0 made some referen=
ce about "try to use it creatively", so it doesn't sound like someone who m=
esses around w/ it at a guitar center store-that the sound of this pedal wi=
ll become very noticable or cliche. it just seemed like a weird review to m=
e.

yes, i remember the reviews of andre's normalized talking about it was just=
 guitar into his old tube amp, recorded direct (i think). but then i read a=
nother review of him talking about all the plug in's they used in the recor=
ding to tweek eq's and stuff, and 1/2 of it i didn't understand, but to me,=
 after that, i thought, well it doesn't sound like just guitar into tube am=
p & edp and record, anymore. but i still love that album, and i will say th=
at it did take me awhile to warm up to it.
and then a couple of the youtube vids i've seen of him playing live, it sou=
nded like he can play the material from that live and it sounded good, so g=
uess the tweaking was an audio thing, and not so much a performance thing.

i will say the GP's review of the slicer got me experimenting-they said the=
 slicer takes the sound and makes like tremolo'd sound w/ filters (i think =
they referenced squarepusher) and can do the various 50 preset rhythms, so =
i played around w/ my tremolo presets on my digitech rp150 and zoom g2 and =
turned on my synthwah and messed around w/ that. and i will say it got me s=
ome interesting sounds (oh and i used my ibanez de7-delay to manipulate the=
 time a bit here and there). couldn't get it as trancey/rhythmically as i'v=
e heard in demos of the slicer, but got some interesting stuff. i should pr=
obably record it....
oh well....
happy looping
s---
=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">not sure if these were mentioned in the 1 gtr/1 drummer thing:<br><br>david torn's 1st solo album, "Best Laid Plans" w/ geoff gordon-although i think he's listed more as percussionist, but i love that album<br><br>and ani difranco when she was on tour a lot in the late 90's played w/ just a drummer, a friend of mine said live w/ just a drummer she was very powerful.<br><br>wasn't sure if anyone saw in the newest guitar player (and again, i can't even remember who was on the cover) there is reviews of the line 6 m13 pedal and they have a review of the boss slicer. now the funny thing i thought about the reviews, they said the m13 was good in combining all the line 6 pedals in one + looper, but the slicer review was weird,&nbsp; made some reference about "try to use it creatively", so it doesn't sound like someone who messes around w/ it at a guitar center
 store-that the sound of this pedal will become very noticable or cliche. it just seemed like a weird review to me.<br><br>yes, i remember the reviews of andre's normalized talking about it was just guitar into his old tube amp, recorded direct (i think). but then i read another review of him talking about all the plug in's they used in the recording to tweek eq's and stuff, and 1/2 of it i didn't understand, but to me, after that, i thought, well it doesn't sound like just guitar into tube amp &amp; edp and record, anymore. but i still love that album, and i will say that it did take me awhile to warm up to it.<br>and then a couple of the youtube vids i've seen of him playing live, it sounded like he can play the material from that live and it sounded good, so guess the tweaking was an audio thing, and not so much a performance thing.<br><br>i will say the GP's review of the slicer got me experimenting-they said the slicer takes the sound and makes like
 tremolo'd sound w/ filters (i think they referenced squarepusher) and can do the various 50 preset rhythms, so i played around w/ my tremolo presets on my digitech rp150 and zoom g2 and turned on my synthwah and messed around w/ that. and i will say it got me some interesting sounds (oh and i used my ibanez de7-delay to manipulate the time a bit here and there). couldn't get it as trancey/rhythmically as i've heard in demos of the slicer, but got some interesting stuff. i should probably record it....<br>oh well....<br>happy looping<br>s---<br></td></tr></table><br>

      
--0-56442970-1229529798=:756--

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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: monophonic analog synth
Date: Wed, 17 Dec 2008 08:12:16 -0800
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Unless you are looking for just another synth program for a computer,  
I would otherwise suggest the classic Sequential Circuits Pro One.
It has a simple arp, and also a built in sequencer with up to 40  
notes to be entered (via the kybd).
The Pro One produces a wide range of some very lovely and lush  
analogue synthesis, and is very user-friendly with an array of large  
knobs to turn.
Among other things, it has 2 oscillators, 2 ADSRs, and a modulator,  
as well. No built in MIDI,though, but they can be modified for that,
or can be used with a CV/MIDI converter unit without being MIDI-modified
I have been using a Pro One for years, and it is one of my fave all  
time analogue synthesizers.
(next to my ARP synths which will also rule the studio :-) )

But, when / if you find find one, it will likely be a bit pricey.  
Just about all "vintage" synthesizers are so these days , and have  
been so for good number of years now.

Look here for more info:
http://www.vintagesynth.com/sci/seqpro1.shtml

There are even some videos on Youtube showing it in action. Here is  
one of them. There are others.
http://video.google.com/videosearch?hl=en&q=sequential+circuits+pro 
+one&um=1&ie=UTF-8&sa=X&oi=video_result_group&resnum=4&ct=title#

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/


On Dec 17, 2008, at 5:15 AM, SP Goodman wrote:

> The dear old Roland SH-101 did all of that. :)
> eBay's got something like it I think.
> http://tinyurl.com/5zjwz3
> ----- Original Message -----
> From: Erdem Helvacioglu
> To: Loopers-Delight@loopers-delight.com
> Sent: Wednesday, December 17, 2008 12:59 PM
> Subject: OT : monophonic analog synth
>
> hi,
>
> for a new album project of mine, i would like to use a fully analog  
> monophonic synth with arpeggiator, ring modulator, various lfo  
> forms and modulation matrix. what would you suggest?
>
> i have been working with the carrier out ( sinus wave ) from my  
> mooger ring modulator with various analog and hardware fx, and man  
> i was in analog sound heaven! :)
>
> hey, by the way my new album will be released in january in the  
> states. i am really very proud of it. will send an email to the  
> list when it is officially released.
>
> best.
>
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu
> * * * * * * * * * * * * * * * * * * * *
> "Altered Realities" album is out on New Albion Records:
> chosen as"Album of the year 2007" by All About Jazz Magazine
> www.newalbion.com/NA_CDS/NA131/NA131.htm
> www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/ 
> sr=8-1/qid=1161162264/ref=pd_bbs_sr_1/002-0939524-3125629?ie=UTF8


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Unless you are looking for just another synth program for a computer, I =
would otherwise suggest the classic Sequential Circuits Pro One.=A0<div>It=
 has a simple arp, and also a built in sequencer with up to 40 notes to =
be entered (via the kybd).</div><div>The Pro One produces a wide range =
of some very lovely and lush analogue synthesis, and is very =
user-friendly with an array of large knobs to turn.=A0<div>Among other =
things, it has 2 oscillators, 2 ADSRs,=A0and a modulator, as well.=A0No =
built in MIDI,though, but they can be modified for that,=A0</div><div>or =
can be used with a CV/MIDI converter unit without being =
MIDI-modified</div><div>I have been using a Pro One for years, and it is =
one of my fave all time analogue synthesizers.=A0</div><div>(next to my =
ARP synths which will also rule the studio :-) =
)</div><div><br></div><div>But, when / if you find find one, it will =
likely be a bit pricey. Just about all "vintage" synthesizers are so =
these days , and have been so for good number of years =
now.</div><div><br></div><div>Look here for more info:</div><div><a =
href=3D"http://www.vintagesynth.com/sci/seqpro1.shtml">http://www.vintages=
ynth.com/sci/seqpro1.shtml</a></div><div><br></div><div>There are even =
some videos on Youtube showing it in action. Here is one of them. There =
are others.</div><div><a =
href=3D"http://video.google.com/videosearch?hl=3Den&amp;q=3Dsequential+cir=
cuits+pro+one&amp;um=3D1&amp;ie=3DUTF-8&amp;sa=3DX&amp;oi=3Dvideo_result_g=
roup&amp;resnum=3D4&amp;ct=3Dtitle#">http://video.google.com/videosearch?h=
l=3Den&amp;q=3Dsequential+circuits+pro+one&amp;um=3D1&amp;ie=3DUTF-8&amp;s=
a=3DX&amp;oi=3Dvideo_result_group&amp;resnum=3D4&amp;ct=3Dtitle#</a></div>=
<div><br></div><div>All the best,</div><div>Rev Fever</div><div><div><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div><div><br></div></div><div><br></div><div>On Dec 17, 2008, =
at 5:15 AM, SP Goodman wrote:</div><div><div><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><font size=3D"2">The dear old =
Roland SH-101 did all of that. :)</font></div><div><font size=3D"2">eBay's=
 got something like it I think.</font></div><div><font size=3D"2"><a =
href=3D"http://tinyurl.com/5zjwz3">http://tinyurl.com/5zjwz3</a></font></d=
iv><blockquote dir=3D"ltr" style=3D"padding-right: 0px; padding-left: =
5px; margin-left: 5px; border-left-color: rgb(0, 0, 0); =
border-left-width: 2px; border-left-style: solid; margin-right: 0px; =
"><div style=3D"font: normal normal normal 10pt/normal arial; ">----- =
Original Message -----</div><div style=3D"background-image: initial; =
background-repeat: initial; background-attachment: initial; =
-webkit-background-clip: initial; -webkit-background-origin: initial; =
background-color: rgb(228, 228, 228); font: normal normal normal =
10pt/normal arial; background-position: initial initial; =
"><b>From:</b><span class=3D"Apple-converted-space">=A0</span><a =
title=3D"erdemhel@tnn.net" href=3D"mailto:erdemhel@tnn.net">Erdem =
Helvacioglu</a></div><div style=3D"font: normal normal normal =
10pt/normal arial; "><b>To:</b><span =
class=3D"Apple-converted-space">=A0</span><a =
title=3D"Loopers-Delight@loopers-delight.com" =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a></div><div style=3D"font: normal normal normal =
10pt/normal arial; "><b>Sent:</b><span =
class=3D"Apple-converted-space">=A0</span>Wednesday, December 17, 2008 =
12:59 PM</div><div style=3D"font: normal normal normal 10pt/normal =
arial; "><b>Subject:</b><span class=3D"Apple-converted-space">=A0</span>OT=
 : monophonic analog =
synth</div><div><br></div><div>hi,</div><div>=A0</div><div>for a new =
album project of mine, i would like to use a fully analog monophonic =
synth with arpeggiator, ring modulator, various lfo forms and modulation =
matrix. what would you suggest?</div><div>=A0</div><div>i have been =
working with the carrier out ( sinus wave ) from my mooger ring =
modulator with various analog and hardware fx, and man i was in analog =
sound heaven! :)</div><div>=A0</div><div>hey, by the way my new album =
will be released in january in the states. i am really very proud of it. =
will send an email to the list when it is officially =
released.</div><div>=A0</div><div>best.</div><div>=A0</div><div>Erdem =
Helvacioglu<br><a =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</a><br><=
a =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelv=
acioglu</a><br>* * * * * * * * * * * * * * * * * * * *<br>"Altered =
Realities" album is out on New Albion Records:<br>chosen as"Album of the =
year 2007" by All About Jazz Magazine<br><a =
href=3D"http://www.newalbion.com/NA_CDS/NA131/NA131.htm">www.newalbion.com=
/NA_CDS/NA131/NA131.htm</a><br><a =
href=3D"http://www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000G=
FLE9A/sr=3D8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3D=
UTF8">www.amazon.com/Helvacioglu-Altered-Realities-Erdem/dp/B000GFLE9A/sr=3D=
8-1/qid=3D1161162264/ref=3Dpd_bbs_sr_1/002-0939524-3125629?ie=3DUTF8</a></=
div></blockquote></span></blockquote></div><br></div></div></div></body></=
html>=

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 16:33:55 2008
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Date: Wed, 17 Dec 2008 08:33:54 -0800
From: "Kevin Cheli-Colando" <billowhead@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Looping video on Vimeo
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Modul8 is technically live video mixing software, but when you're dealing
with video clips those are basically loops.  It's a pretty cool program, it
has midi functionality and a lot of BPM sync-ed video effects so it can be
pretty 'musical' as well.  I feel like I've only just scratched the surface
myself but its big fun so far.

Kevin

On Tue, Dec 16, 2008 at 12:16 PM, Trevor Davis <bonesdrums@gmail.com> wrote:

> So...is module 8 a video looping program? This stuff is cool!
>
>
> On Tue, Dec 16, 2008 at 12:08 PM, Kevin Cheli-Colando <kevin@minds-eye.org
> > wrote:
>
>> Hello all,
>>
>> I just uploaded three video pieces that I've put together in attempt to
>> document my attempts at live video mixing at Vimeo
>>
>> http://www.vimeo.com/user877640/videos
>>
>> These were all silent recordings so I put some solo guitar improvisations
>> along with them to sweeten the deal.
>>
>> Hope you like them,
>>
>> 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
>>
>
>
>
> --
> Trevor Davis
> Bare Bones Productions
> www.bonesdrums.com
> 1239 D Street
> Salida, CO
> 81201
> 719 207 3422
> 866 622 4269
>



-- 

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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Modul8 is technically live video mixing software, but when you&#39;re dealing with video clips those are basically loops.&nbsp; It&#39;s a pretty cool program, it has midi functionality and a lot of BPM sync-ed video effects so it can be pretty &#39;musical&#39; as well.&nbsp; I feel like I&#39;ve only just scratched the surface myself but its big fun so far.<br>
<br>Kevin<br><br><div class="gmail_quote">On Tue, Dec 16, 2008 at 12:16 PM, Trevor Davis <span dir="ltr">&lt;<a href="mailto:bonesdrums@gmail.com">bonesdrums@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
So...is module 8 a video looping program? This stuff is cool!<div><div></div><div class="Wj3C7c"><br><br>
<div class="gmail_quote">On Tue, Dec 16, 2008 at 12:08 PM, Kevin Cheli-Colando <span dir="ltr">&lt;<a href="mailto:kevin@minds-eye.org" target="_blank">kevin@minds-eye.org</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;">Hello all,<br><br>I just uploaded three video pieces that I&#39;ve put together in attempt to document my attempts at live video mixing at Vimeo<br>

<br><a href="http://www.vimeo.com/user877640/videos" target="_blank">http://www.vimeo.com/user877640/videos</a><br><br>These were all silent recordings so I put some solo guitar improvisations along with them to sweeten the deal.&nbsp; <br>

<br>Hope you like them,<br><br>Kevin<br clear="all"><font color="#888888"><br>-- <br><br>Till now you seriously considered yourself to be the body and to have a<br>form. That is the primal ignorance which is the root cause of all trouble.<br>

<br>- Ramana Maharshi (1879-1950)<br><br>Sound and Vision: &nbsp;<a href="http://www.minds-eye.org/" target="_blank">http://www.minds-eye.org</a><br></font></blockquote></div><br><br clear="all"><br></div></div>-- <br><font color="#888888">Trevor Davis<br>
Bare Bones Productions<br>
<a href="http://www.bonesdrums.com" target="_blank">www.bonesdrums.com</a><br>1239 D Street<br>Salida, CO <br>81201<br>719 207 3422<br>866 622 4269<br>
</font></blockquote></div><br><br clear="all"><br>-- <br><br>Till now you seriously considered yourself to be the body and to have a<br>form. That is the primal ignorance which is the root cause of all trouble.<br><br>- Ramana Maharshi (1879-1950)<br>
<br>Sound and Vision: &nbsp;<a href="http://www.minds-eye.org">http://www.minds-eye.org</a><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 16:47:17 2008
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Subject: Re:OT : monophonic analog synth
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> Erdem wrote:
> for a new album project of mine, i would like to use a fully analog 
> monophonic synth with arpeggiator, ring modulator, various lfo forms an=
d 
> modulation matrix. what would you suggest?

Hi Erdem,
If you want to buy a new analog synthesizer, check out Moog and Dave Smit=
h Instruments (DSI =3D> Dave was the founder of Sequential Circuits). New=
 monophonic synths:
- Moog little phatty
- Moog Voyager old school
- DSI mono Evolver (100% analog except for effect section)

If you want to buy a used/old one, make sure you can get spare parts for =
it.

I personally use a new Polyphonic Prophet 08 from DSI. It is 100% analog =
synth, you can create all the analog synths sounds from the past. It has =
a self-oscillating 24dB 4-pole filter as on the original Prophet 5 and a =
non-self-oscillating 12dB 2-pole filter as used on the Oberheim OB series=
, a knob for every parameter and very good modulation matrix that allows =
you to create "evolving sounds". Like the Moogs you realy have the feelin=
g your playing and "old analog" synth but with the advantage that you hav=
e a reliable piece of hardware, midi, storage :)
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
Meer info op www.scarlet.be

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Date: Wed, 17 Dec 2008 17:47:47 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: Promoting Live Looping with Google Friend Connect
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Hi,

I like to socialize online but sometimes I have to turn off all my
chat clients just to get some work done. A while back it hit me that
FaceBook has become too bloated and steals too much valuable time from
me. So I looked around for a smaller, faster and more efficient
alternative to keep in touch with folks, exchange valuable links, help
each other on-the-fly with specific questions etc. Twitter proved to
be the perfect solution and since I started tweeting I have rarely
touched FaceBook ;-)

Another brand new thing is Google Friend Connect. Just as slimmed down
as Twitter but focusing on letting people link in with each other's
home pages. I decided to add it it to my general Live Looping page. If
anyone here with a Google account wants to hook up it's right at
http://www.looproom.com/livelooping.php

Best regards

Per Boysen

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 17:19:36 2008
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Date: Wed, 17 Dec 2008 17:14:35 -0000 (GMT)
Subject: New Craig Green+David King Release-One Guitar/One Drummer 
From: craig@craigjgreen.com
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Hi All,

Just noticed the topic of One Guitar and Drummer on the LD page.  I have a
new record that explores the subject as well as the use of altered tunings
for guitar and ambient loops that was just released on the Milan Italy
based label Long Song Records.

The record is a duo project with David King, the drummer for the group The
Bad Plus and Happy Apple. The recording was done in Minneapolis last year
and features myself on both acoustic and electric guitars and David on
drums and various percussive instruments, including his infamous use of
children's toys.  It was a very special improvised record and is now
available in the States as well as Europe.  We have been receiving some
really great reviews including the recent one in All About Jazz by Mark
Corroto.

"Green conjures sounds from his guitars both electric and acoustic to
great effect. He becomes a son of Bill Frisell, grandson of Derek Bailey
but with a pension for rock. The longest track on the disc, “Snow Plow,”
thumps along to King’s bass drum and Green’s stellar guitar effects. He
alternates melodic passages with noise (as pleasant as can be), creating a
menagerie of sound that morphs into a sort of tango. Elsewhere, “Rock,
Paper, Scissors” hovers around the military beat until Green’s acoustic
guitar signals a blues tune. King follows making the pulse a marching
funkiness. The music is free, at times it's wacky, but it's altogether
enjoyable. Dudes, this music abides."

The CD is available on all the digital site including itunes. Search for
Craig Green+David King on itunes or the following sites for sound sample.

www.craigjgreen.com
www.myspace.com/craigjgreentrio
www.longsongreords.com

Cheers!

Craig Green









From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 17:25:46 2008
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Date: Wed, 17 Dec 2008 17:25:45 -0000 (GMT)
Subject: New Craig Green+David King Release-One Guitar/One Drummer 
From: craig@craigjgreen.com
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Hi All,

Just noticed the topic of One Guitar and Drummer on the LD page.  I have a
new record that explores the subject as well as the use of altered tunings
for guitar and ambient loops that was just released on the Milan Italy
based label Long Song Records.

The record is a duo project with David King, the drummer for the group The
Bad Plus and Happy Apple. The recording was done in Minneapolis last year
and features myself on both acoustic and electric guitars and David on
drums and various percussive instruments, including his infamous use of
children's toys.  It was a very special improvised record and is now
available in the States as well as Europe.  We have been receiving some
really great reviews including the recent one in All About Jazz by Mark
Corroto.

"Green conjures sounds from his guitars both electric and acoustic to
great effect. He becomes a son of Bill Frisell, grandson of Derek Bailey
but with a pension for rock. The longest track on the disc, “Snow Plow,”
thumps along to King’s bass drum and Green’s stellar guitar effects. He
alternates melodic passages with noise (as pleasant as can be), creating a
menagerie of sound that morphs into a sort of tango. Elsewhere, “Rock,
Paper, Scissors” hovers around the military beat until Green’s acoustic
guitar signals a blues tune. King follows making the pulse a marching
funkiness. The music is free, at times it's wacky, but it's altogether
enjoyable. Dudes, this music abides."

The CD is available on all the digital site including itunes. Search for
Craig Green+David King on itunes or the following sites for sound sample.

www.craigjgreen.com
www.myspace.com/craigjgreentrio
www.longsongreords.com

Cheers!

Craig Green









From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 17:39:41 2008
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Date: Wed, 17 Dec 2008 11:39:35 -0600
From: Daryl Shawn <highhorse@mhorse.com>
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very cool, Craig. I'm checking out your Bent Flow Trio record in 
Rhapsody now, which sounds great. Any chance the new one will be 
appearing on eMusic or Rhapsody?

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


> Hi All,
>
> Just noticed the topic of One Guitar and Drummer on the LD page.  I have a
> new record that explores the subject as well as the use of altered tunings
> for guitar and ambient loops that was just released on the Milan Italy
> based label Long Song Records.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 17:43:02 2008
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Thank you very much Daryl!

Will do indeed - I try not to do any OT personal promotion but will make an
exception when it's out in a few months time ... will look forward to
everyone's constructive feedback (if you'll pardon the pun!)

K x

2008/12/17 Daryl Shawn <highhorse@mhorse.com>

> Great stuff, Kayla, thanks!
>
> Let us know when your album comes out, be it looping or no.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>  And another one to add to the list - something I tried out with the Akai
>> HeadRush in Tape Echo mode :)
>>
>> http://www.facebook.com/home.php?#/video/video.php?v=34413755754
>>
>
>


-- 
Kayla's website: http://www.kaylakavanagh.com
MySpace: http://www.myspace.com/kaylakavanagh
FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk

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Thank you very much Daryl!<br><br>Will do indeed - I try not to do any OT personal promotion but will make an exception when it&#39;s out in a few months time ... will look forward to everyone&#39;s constructive feedback (if you&#39;ll pardon the pun!)<br>
<br>K x<br><br><div class="gmail_quote">2008/12/17 Daryl Shawn <span dir="ltr">&lt;<a href="mailto:highhorse@mhorse.com">highhorse@mhorse.com</a>&gt;</span><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Great stuff, Kayla, thanks!<br>
<br>
Let us know when your album comes out, be it looping or no.<div class="Ih2E3d"><br>
<br>
Daryl Shawn<br>
<a href="http://www.swanwelder.com" target="_blank">www.swanwelder.com</a><br>
<a href="http://www.chinapaintingmusic.com" target="_blank">www.chinapaintingmusic.com</a><br>
<br>
<br>
</div><div><div></div><div class="Wj3C7c"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
And another one to add to the list - something I tried out with the Akai HeadRush in Tape Echo mode :)<br>
<br>
<a href="http://www.facebook.com/home.php?#/video/video.php?v=34413755754" target="_blank">http://www.facebook.com/home.php?#/video/video.php?v=34413755754</a><br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br>Kayla&#39;s website: <a href="http://www.kaylakavanagh.com">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh">http://www.myspace.com/kaylakavanagh</a><br>
FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk">http://www.kaleidoscope-design.co.uk</a><br>


------=_Part_4552_4519333.1229535073269--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 17:58:42 2008
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Date: Wed, 17 Dec 2008 17:58:42 -0000 (GMT)
Subject: Re: New Craig Green+David King Release-One Guitar/One Drummer
From: craig@craigjgreen.com
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Hi Daryl,

Glad to hear you are enoying the music.  I'm not sure when the new record
will come out on eMusic or Rahapsody, but I can let you know when it does.

Craig



> very cool, Craig. I'm checking out your Bent Flow Trio record in
> Rhapsody now, which sounds great. Any chance the new one will be
> appearing on eMusic or Rhapsody?
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>> Hi All,
>>
>> Just noticed the topic of One Guitar and Drummer on the LD page.  I have
>> a
>> new record that explores the subject as well as the use of altered
>> tunings
>> for guitar and ambient loops that was just released on the Milan Italy
>> based label Long Song Records.
>
>


From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 20:21:21 2008
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Subject: Re: Live Looping in an ensemble context.....what gear do u use?
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I almost always loop with others. Although to be fair often I am just  
controlling the loops and not playing my viola at the same time.

You can hear some of my duet work with vocalist Viviane Houle at these  
two sites.

http://www.cellarlive.com/discography.php?section=Discography&page=60

http://vivianehoule.ca/index.php?mpage=music

As for tools - I use Kenaxis which is the software I've developed. One  
of the main new features I added to version 3 was the ability to  
choose from any of up to 8 inputs that I can have going into Kenaxis.  
This allows me to decided to loop and manipulate any player I want in  
a group once I setup enough looping mics. It is hard not to get into a  
mush when you have more than 3 or 4 players. Done a couple of large  
ensemble gigs with 12+ players and just had to find ways of  
manipulating the loops into frequency ranges that most normal  
instruments can't get to.

As for evolving loops - there is so much that can be done with a loop  
which is why I am more than happy just capturing and manipulating the  
loops while another player creates fresh material. It is great fun to  
see a players reaction who usually does not play with loops once their  
material starts coming back at them.

Stefan

----------------------------------------------------
www.kenaxis.com


--Apple-Mail-2--17512292
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	charset=US-ASCII
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">I almost always loop with =
others. Although to be fair often I am just controlling the loops and =
not playing my viola at the same time.&nbsp;<div><br></div><div>You can =
hear some of my duet work with vocalist Viviane Houle at these two =
sites.</div><div><br></div><div><a =
href=3D"http://www.cellarlive.com/discography.php?section=3DDiscography&am=
p;page=3D60">http://www.cellarlive.com/discography.php?section=3DDiscograp=
hy&amp;page=3D60</a></div><div><br></div><div><a =
href=3D"http://vivianehoule.ca/index.php?mpage=3Dmusic">http://vivianehoul=
e.ca/index.php?mpage=3Dmusic</a></div><div><br></div><div>As for tools - =
I use Kenaxis which is the software I've developed. One of the main new =
features I added to version 3 was the ability to choose from any of up =
to 8 inputs that I can have going into Kenaxis. This allows me to =
decided to loop and manipulate any player I want in a group once I setup =
enough looping mics. It is hard not to get into a mush when you have =
more than 3 or 4 players. Done a couple of large ensemble gigs with 12+ =
players and just had to find ways of manipulating the loops into =
frequency ranges that most normal instruments can't get =
to.&nbsp;</div><div><br></div><div>As for evolving loops - there is so =
much that can be done with a loop which is why I am more than happy just =
capturing and manipulating the loops while another player creates fresh =
material. It is great fun to see a players reaction who usually does not =
play with loops once their material starts coming back at =
them.</div><div><br></div><div>Stefan</div><div><br></div><div><div =
apple-content-edited=3D"true"> <div><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">----------------------------------------------------</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"><a =
href=3D"http://www.kenaxis.com">www.kenaxis.com</a></font></p> </div> =
</div><br></div></body></html>=

--Apple-Mail-2--17512292--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 20:24:47 2008
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References: <KC15AQ$AC926710A68A787BFDD7B906B68002E9@scarlet.be>
Subject: Re: Re:OT : monophonic analog synth
Date: Wed, 17 Dec 2008 21:17:57 +0100
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Don't forget the DSI mopho which is the mono version of the prophet08.
Mfberlin.de makes also cute little machines.

Ben

----- Original Message ----- 
> Erdem wrote:
> for a new album project of mine, i would like to use a fully analog
> monophonic synth with arpeggiator, ring modulator, various lfo forms and
> modulation matrix. what would you suggest?

Hi Erdem,
If you want to buy a new analog synthesizer, check out Moog and Dave Smith 
Instruments (DSI => Dave was the founder of Sequential Circuits). New 
monophonic synths:
- Moog little phatty
- Moog Voyager old school
- DSI mono Evolver (100% analog except for effect section)



From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 20:29:54 2008
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From: stanitarium@earthlink.net
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Subject: "Interstellar Space Revisited"
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concur
the Coltrane is enthralling-
the Nels as much as i champion the electric guitar-don't make it.
IMO
a


>I was not aware of this CD with Nels. I will have to check it out. The 
>question is, does it earn the title of Interstellar Space Revisited? That 
>album of Coltrane's is insurpassable, allowing only remote approximations to 
>its level.
>
>Kris
>
>
>> Nels Cline and Gregg Bendian's "Interstellar Space Revisited" is a superb 
>> reworking of Coltrane and Ali's masterpiece.
>> The original lineup of the B-52s survived for years without a bass player.
>> Pig Destroyer - guitar/drums/vocals - I particularly like their album 
>> Terrifyer from 2004.
>>
>> 
>

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Subject: Re: Live Looping in an ensemble context.....what gear do u use?
Date: Wed, 17 Dec 2008 20:31:01 -0000
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This is a multi-part message in MIME format.

------=_NextPart_000_000A_01C96086.6014A660
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Hi Stefan,

I must check out your software. If you don't mind me asking, how did you =
manipulate loops into frequency ranges? It is something that I find =
interesting at the moment, especially if only one member of an ensemble =
is looping, and like you said it can lead to 'mush.' I find this is a =
common trait when you are 'limited' by the range of your instrument. As =
a guitar player, I find myself striving to voice motifs differently =
before tweaking post fade to try and give each loop it's own space in =
the mix.

Cheers,

Ricky
  From: Stefan Smulovitz=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, December 17, 2008 8:21 PM
  Subject: Re: Live Looping in an ensemble context.....what gear do u =
use?


  I almost always loop with others. Although to be fair often I am just =
controlling the loops and not playing my viola at the same time.=20


  You can hear some of my duet work with vocalist Viviane Houle at these =
two sites.


  =
http://www.cellarlive.com/discography.php?section=3DDiscography&page=3D60=



  http://vivianehoule.ca/index.php?mpage=3Dmusic


  As for tools - I use Kenaxis which is the software I've developed. One =
of the main new features I added to version 3 was the ability to choose =
from any of up to 8 inputs that I can have going into Kenaxis. This =
allows me to decided to loop and manipulate any player I want in a group =
once I setup enough looping mics. It is hard not to get into a mush when =
you have more than 3 or 4 players. Done a couple of large ensemble gigs =
with 12+ players and just had to find ways of manipulating the loops =
into frequency ranges that most normal instruments can't get to.=20


  As for evolving loops - there is so much that can be done with a loop =
which is why I am more than happy just capturing and manipulating the =
loops while another player creates fresh material. It is great fun to =
see a players reaction who usually does not play with loops once their =
material starts coming back at them.


  Stefan


  ----------------------------------------------------

  www.kenaxis.com





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


  No virus found in this incoming message.
  Checked by AVG.=20
  Version: 7.5.552 / Virus Database: 270.9.19/1853 - Release Date: =
17/12/2008 08:31

------=_NextPart_000_000A_01C96086.6014A660
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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 6.00.2900.2180" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; webkit-nbsp-mode: space; =
webkit-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Hi Stefan,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I must check out your software. If you =
don't mind=20
me asking, how did you manipulate loops into frequency ranges? It is =
something=20
that I find interesting at the moment, especially if only one member of =
an=20
ensemble is looping, and like you said it can&nbsp;lead to&nbsp;'mush.' =
I find=20
this is a&nbsp;common trait when you are&nbsp;'limited' by the range of =
your=20
instrument. As a guitar player, I find myself striving to voice motifs=20
differently before&nbsp;tweaking post fade to try and give each loop =
it's own=20
space in the mix.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Cheers,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ricky</FONT></DIV>
<BLOCKQUOTE=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=3Dstefan@kenaxis.com =
href=3D"mailto:stefan@kenaxis.com">Stefan=20
  Smulovitz</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, December 17, =
2008 8:21=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Live Looping in an =
ensemble=20
  context.....what gear do u use?</DIV>
  <DIV><BR></DIV>I almost always loop with others. Although to be fair =
often I=20
  am just controlling the loops and not playing my viola at the same =
time.&nbsp;
  <DIV><BR></DIV>
  <DIV>You can hear some of my duet work with vocalist Viviane Houle at =
these=20
  two sites.</DIV>
  <DIV><BR></DIV>
  <DIV><A=20
  =
href=3D"http://www.cellarlive.com/discography.php?section=3DDiscography&a=
mp;page=3D60">http://www.cellarlive.com/discography.php?section=3DDiscogr=
aphy&amp;page=3D60</A></DIV>
  <DIV><BR></DIV>
  <DIV><A=20
  =
href=3D"http://vivianehoule.ca/index.php?mpage=3Dmusic">http://vivianehou=
le.ca/index.php?mpage=3Dmusic</A></DIV>
  <DIV><BR></DIV>
  <DIV>As for tools - I use Kenaxis which is the software I've =
developed. One of=20
  the main new features I added to version 3 was the ability to choose =
from any=20
  of up to 8 inputs that I can have going into Kenaxis. This allows me =
to=20
  decided to loop and manipulate any player I want in a group once I =
setup=20
  enough looping mics. It is hard not to get into a mush when you have =
more than=20
  3 or 4 players. Done a couple of large ensemble gigs with 12+ players =
and just=20
  had to find ways of manipulating the loops into frequency ranges that =
most=20
  normal instruments can't get to.&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV>As for evolving loops - there is so much that can be done with a =
loop=20
  which is why I am more than happy just capturing and manipulating the =
loops=20
  while another player creates fresh material. It is great fun to see a =
players=20
  reaction who usually does not play with loops once their material =
starts=20
  coming back at them.</DIV>
  <DIV><BR></DIV>
  <DIV>Stefan</DIV>
  <DIV><BR></DIV>
  <DIV>
  <DIV apple-content-edited=3D"true">
  <DIV>
  <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
  =
size=3D3>----------------------------------------------------</FONT></P>
  <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
  size=3D3><A=20
  =
href=3D"http://www.kenaxis.com">www.kenaxis.com</A></FONT></P></DIV></DIV=
><BR></DIV>
  <P>
  <HR>

  <P></P>No virus found in this incoming message.<BR>Checked by AVG.=20
  <BR>Version: 7.5.552 / Virus Database: 270.9.19/1853 - Release Date:=20
  17/12/2008 08:31<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_000A_01C96086.6014A660--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 20:50:38 2008
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From: "Ben" <benoitruelle@yahoo.fr>
To: <Loopers-Delight@loopers-delight.com>
Subject: free software looper: repetito
Date: Wed, 17 Dec 2008 21:50:02 +0100
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I just came across this software
The website is in French only.
http://www.repetito.com/index.php?page=contenu_freeversion&PHPSESSID=8d773c8b39117e8b8fe35fe76c8722cd

I didn't tried it yet.
It seems it's the light version of a tool developped foa a band called 
nosfel.

Ben 


From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 20:52:58 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
References: <005801c96089$09b988f0$6402a8c0@voo.intra>
Subject: Re: free software looper: repetito
Date: Wed, 17 Dec 2008 20:52:55 -0000
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There's a little union jack at the top. If you click it, it'll translate 
into English.

Ricky

----- Original Message ----- 
From: "Ben" <benoitruelle@yahoo.fr>
To: <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 17, 2008 8:50 PM
Subject: free software looper: repetito


>I just came across this software
> The website is in French only.
> http://www.repetito.com/index.php?page=contenu_freeversion&PHPSESSID=8d773c8b39117e8b8fe35fe76c8722cd
>
> I didn't tried it yet.
> It seems it's the light version of a tool developped foa a band called 
> nosfel.
>
> Ben
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.19/1853 - Release 
> Date: 17/12/2008 08:31
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 22:01:07 2008
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luv the 'camille' record "le fil".
heard about her when DavidByrne curated this show in nyc
http://www.nytimes.com/2007/02/06/arts/music/06zank.html
 called 'one note'-which really intrigued me being a drone guy and concentr=
ating on one note or chord.
also where would i find any vids w/ those eastern guys playing the one stri=
ng instruments w/ percussion?
s

-----Original Message-----
>From: SP Goodman <spgoodman@earthlight.net>
>Sent: Dec 16, 2008 4:19 PM
>To: Loopers-Delight@loopers-delight.com
>Subject: Re: Acapella Loopers
>
>There's a French artist named Camille that had a recent album, "Hole", tha=
t=20
>had some good vocal-combo loopage in more than a few songs.
>
>----- Original Message -----=20
>From: "Rainer Straschill" <moinsound@googlemail.com>
>To: <loopers-delight@loopers-delight.com>
>Sent: Tuesday, December 16, 2008 8:39 PM
>Subject: Acapella Loopers
>
>
>>> Anyone have any recommendations or self-props?
>>
>> Stating the obvious here, but there's Kid Beyond (who also played
>> Rick's festival - I think in 2005?). A looping beatboxer/instrument
>> imitator - and astounding as that, but I have to admit I prefer his
>> covers to his originals (here's one originally by Portishead:
>> http://www.youtube.com/watch?v=3DnVusmB-iMEA). He's using Ableton Live,
>> btw.
>>
>> Then there's Pushing Air, who also played some of Rick's festivals (I
>> know for sure about the 06 one, because I had her at the kybermusik
>> thing).
>>
>> I seem to remember that David Moss also almost did something like this
>> - on his duet collaboration album "Time Stories", Heiner Goebbels
>> samples him.
>>
>> And of course, there's a lot of vocal work on my next album "Wie gro=C3=
=9F
>> ist die Luft ?" - release date December 24th of 2008 ;)
>>
>>          Rainer
>>
>>
>>
>>
>>
>>=20
>

From info.prestidge.loans@mchsi.com  Wed Dec 17 22:07:34 2008
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 22:47:45 2008
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Date: Wed, 17 Dec 2008 22:37:45 +0000
From: "Daniel Hegarty" <danielphegarty@googlemail.com>
To: Loopers-Delight@loopers-delight.com
Subject: EDP and Logic question
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------=_Part_22478_27740339.1229553465890
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Hey all,
I'm experiencing something a little odd while controlling multiple EDPs via
Logic.

I'm using 4 EDPs simultaneously all factory reset. I'm not using any syncing
just SUS commands to keep all the loops at precisely the same length.

Obviously I switch EDPs on 1st to allow them to boot and then I open the
Logic file that has the MIDI parts to control them all. This is when my
problem occurs. As soon as the file opens, a 0 appears on the displays of
all the EDPs, it appears that it is resetting the feedback value to 0. So I
then have to manually turn the feedback up and down on each unit before
beginning to play. It's not the end of the world but it's just one more
vital thing to remember!

I'm wondering if there's either a way to stop it, or to include a MIDI
command at the beginning of each track to reset the feedback to 127.

Any help gratefully received.

Thanks
Daniel

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Hey all,<div><br></div><div>I&#39;m experiencing something a little odd while controlling multiple EDPs via Logic.</div><div><br></div><div>I&#39;m using 4 EDPs simultaneously all factory reset. I&#39;m not using any syncing just SUS commands to keep all the loops at precisely the same length.</div>
<div><br></div><div>Obviously I switch EDPs on 1st to allow them to boot and then I open the Logic file that has the MIDI parts to control them all. This is when my problem occurs. As soon as the file opens, a 0 appears on the displays of all the EDPs, it appears that it is resetting the feedback value to 0. So I then have to manually turn the feedback up and down on each unit before beginning to play. It&#39;s not the end of the world but it&#39;s just one more vital thing to remember!</div>
<div><br></div><div>I&#39;m wondering if there&#39;s either a way to stop it, or to include a MIDI command at the beginning of each track to reset the feedback to 127.</div><div><br></div><div>Any help gratefully&nbsp;received.</div>
<div><br></div><div>Thanks</div><div>Daniel</div>

------=_Part_22478_27740339.1229553465890--

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From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #610 for December 11, 2008.
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http://wdiy.org/programs/gt/playlists/2008/081211.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 #610                December 11, 2008.

RECAP:
On this show, I continued the month-long focus on the Tangerine Dream.
The Featured CD at Midnight was Tangram 2008 on Eastgate Records.

Tangerine Dream:
http://wdiy.org/programs/gt/playlists/2008/focus.html#dec


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Ian Boddy            The Probability of   Slide (DiN)
                       Doubt
Indra                Colosseum            Colosseum (none)
Rudy Adrian          Desert Realms        Desert Realms (Lotuspike)
Deep Chill Network   Still Standing       Live at the Ambient Ping 2000
                                            (Dark Duck)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Tangerine Dream      Wisdom and Tragedy   Tangram 2008 (Eastgate)
Tangerine Dream      Dradon in the House  Tangram 2008 (Eastgate)
Tangerine Dream      Wu Wei               Tangram 2008 (Eastgate)
Tangerine Dream      Leaving the Masters  Tangram 2008 (Eastgate)
                       for Good
Tangerine Dream      Point of No return   Tangram 2008 (Eastgate)
Tangerine Dream      Dream Puzzle         Tangram 2008 (Eastgate)
Tangerine Dream      Terra Coda           Tangram 2008 (Eastgate)
Tangerine Dream      Track 1              The Keep Cues (Ricochet Dream)
Tangerine Dream      Track 2              The Keep Cues (Ricochet Dream)
Tangerine Dream      Track 3              The Keep Cues (Ricochet Dream)
Tangerine Dream      Track 4 *            The Keep Cues (Ricochet Dream)

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
Tangerine Dream.  The Featured CD at Midnight will be Summer in Nagasaki
on Eastgate Records.

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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
MySpace: http://myspace.com/galactictravels
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://war.str3am.com:7880/listen.pls
http://mysite.verizon.net/schlhserky/wdiystreamtests/hearwdiy.asx
http://mysite.verizon.net/schlhserky/wdiystreamtests/hearwdiy2.ram
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  Wed Dec 17 23:50:48 2008
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logic is sending some kind of reset  message "reset all controlers" 
search in the option should be a switch somewhere

Claude
Daniel Hegarty a écrit :
> Hey all,
> I'm experiencing something a little odd while controlling multiple EDPs via
> Logic.
> 
> I'm using 4 EDPs simultaneously all factory reset. I'm not using any syncing
> just SUS commands to keep all the loops at precisely the same length.
> 
> Obviously I switch EDPs on 1st to allow them to boot and then I open the
> Logic file that has the MIDI parts to control them all. This is when my
> problem occurs. As soon as the file opens, a 0 appears on the displays of
> all the EDPs, it appears that it is resetting the feedback value to 0. So I
> then have to manually turn the feedback up and down on each unit before
> beginning to play. It's not the end of the world but it's just one more
> vital thing to remember!
> 
> I'm wondering if there's either a way to stop it, or to include a MIDI
> command at the beginning of each track to reset the feedback to 127.
> 
> Any help gratefully received.
> 
> Thanks
> Daniel
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 17 23:58:56 2008
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Date: Wed, 17 Dec 2008 23:58:53 +0000
From: "Daniel Hegarty" <danielphegarty@googlemail.com>
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Subject: Re: EDP and Logic question
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------=_Part_24051_4878593.1229558333650
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Thanks Claude,
I should clarify, it's not happening when I open a project, it's actually
only happening when I initially open Logic.

I tried the obvious options and it's still occurring.

Thanks
D

2008/12/17 Claude Voit <c.voit@vtx.ch>

> logic is sending some kind of reset  message "reset all controlers" searc=
h
> in the option should be a switch somewhere
>
> Claude
> Daniel Hegarty a =E9crit :
>
>  Hey all,
>> I'm experiencing something a little odd while controlling multiple EDPs
>> via
>> Logic.
>>
>> I'm using 4 EDPs simultaneously all factory reset. I'm not using any
>> syncing
>> just SUS commands to keep all the loops at precisely the same length.
>>
>> Obviously I switch EDPs on 1st to allow them to boot and then I open the
>> Logic file that has the MIDI parts to control them all. This is when my
>> problem occurs. As soon as the file opens, a 0 appears on the displays o=
f
>> all the EDPs, it appears that it is resetting the feedback value to 0. S=
o
>> I
>> then have to manually turn the feedback up and down on each unit before
>> beginning to play. It's not the end of the world but it's just one more
>> vital thing to remember!
>>
>> I'm wondering if there's either a way to stop it, or to include a MIDI
>> command at the beginning of each track to reset the feedback to 127.
>>
>> Any help gratefully received.
>>
>> Thanks
>> Daniel
>>
>>
>

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Thanks Claude,<div><br></div><div>I should clarify, it&#39;s not happening =
when I open a project, it&#39;s actually only happening when I initially op=
en Logic.</div><div><br></div><div>I tried the obvious options and it&#39;s=
 still occurring.</div>
<div><br></div><div>Thanks</div><div>D<br><div><br><div class=3D"gmail_quot=
e">2008/12/17 Claude Voit <span dir=3D"ltr">&lt;c.voit@vtx.ch&gt;</span><br=
><blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1=
px #ccc solid;padding-left:1ex;">
logic is sending some kind of reset &nbsp;message &quot;reset all controler=
s&quot; search in the option should be a switch somewhere<br>
<br>
Claude<br>
Daniel Hegarty a =E9crit :<div><div></div><div class=3D"Wj3C7c"><br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex">
Hey all,<br>
I&#39;m experiencing something a little odd while controlling multiple EDPs=
 via<br>
Logic.<br>
<br>
I&#39;m using 4 EDPs simultaneously all factory reset. I&#39;m not using an=
y syncing<br>
just SUS commands to keep all the loops at precisely the same length.<br>
<br>
Obviously I switch EDPs on 1st to allow them to boot and then I open the<br=
>
Logic file that has the MIDI parts to control them all. This is when my<br>
problem occurs. As soon as the file opens, a 0 appears on the displays of<b=
r>
all the EDPs, it appears that it is resetting the feedback value to 0. So I=
<br>
then have to manually turn the feedback up and down on each unit before<br>
beginning to play. It&#39;s not the end of the world but it&#39;s just one =
more<br>
vital thing to remember!<br>
<br>
I&#39;m wondering if there&#39;s either a way to stop it, or to include a M=
IDI<br>
command at the beginning of each track to reset the feedback to 127.<br>
<br>
Any help gratefully received.<br>
<br>
Thanks<br>
Daniel<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br></div></div>

------=_Part_24051_4878593.1229558333650--

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 01:38:24 2008
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Date: Wed, 17 Dec 2008 20:32:34 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: LiveLooping on vinyl: Amy X. Neuberg in New York Saturday Night
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Daryl Shawn wrote:
> Thanks much for the review, Bill. Did Recordios only do acetate 78's?  
> Doesn't seem like the idea would work very well if people could only 
> listen to their home recordings twice.
Sorry, but I was only repeating what I heard someone say at the show.  I 
had never heard of Recordio prior to the show.  Please be aware that I 
am assuming that the media was an acetate.  They were being played on 
victrolas which bear down with a real "needle" which would explain the 
destructive effects on an acetate.
> I'm now consumed by the desire to get one of these and modify it to 
> cut fixed grooves...seems like one could put a lot of loops on a 
> single record. At 78 rpm, they'd be pretty short loops, but such 
> analog loveliness it would be.
Warning, no loops were made.  Two acetates were made.  The tempo was set 
by the little keyboard's rhythm section and each recording was of equal 
length.  Both acetates were played back more or less in sync... which 
was done manually so you could hear the two victrolas go out of sync and 
then Steve would adjust the speed on one to bring things back into 
relatively close sync.

Making a loop seems like it would be problematic since it would have to 
be done within a single revolution.  As soon as the cutting needle cuts 
into the beginning of the groove, you'd have to IMMEDIATELY stop 
recording or you'd be ruining the beginning of the loop.  Aiming for AND 
hitting the beginning of a groove seems like it would take a LOT of luck 
and practice.  Loops longer than one revolution are impossible since 
there'd be no way to get back to the beginning without crossing grooves.
> http://www.collectorsquest.com/blog/wp-content/uploads/portable-wilcox-gay-recordio.jpg
Unlike the hearty looking disc shown in this photo, Steve was using 
black 12 inch acetates.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 04:26:46 2008
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It is very good, but doesn't do what Interstellar Space does for me.  And 
clearly (with no disrespect to Nels, but more of a comment about the sheer 
genius of Coltane), Nels' articulation on the guitar does not match 
Coltrane's articulation and mastery of the sax.  Again, I don't think anyone 
would deny that without underestimating Coltrane.

I don't know much about Nels Cline, and have not listened to all of his 
material. All of it is very good from what I have heard. I like the tracks 
on the CD where he is playing clean, more than those where he has the 
shreader guitar tone.  The massive distortion gets on my nerves after a 
while.

I would like to hear John Morris (guitar) and Billy Kilson (drum) doing 
their take of Interstellar Space.  I saw Billy Kilson with Dave Holland a 
few years ago, and was blown away. I have never seen a jazz drummer play 
with such energy and speed.  And of course, Morris that raw jazz tone that 
do well with a homage to Interstellar Space.

Kris

----- Original Message ----- 

>I think it fully earns the title. I find it pretty incredible. I'd be 
>curious to hear your reaction.
>
> Gorgeous version of "Lonnie's Lament" on it, too, after all the chaos.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>> I was not aware of this CD with Nels. I will have to check it out. The 
>> question is, does it earn the title of Interstellar Space Revisited? That 
>> album of Coltrane's is insurpassable, allowing only remote approximations 
>> to its level.
>>
>> Kris
>>
>>
>>> Nels Cline and Gregg Bendian's "Interstellar Space Revisited" is a 
>>> superb reworking of Coltrane and Ali's masterpiece.
>
> 

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 06:06:21 2008
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lucky guy!

2008/12/17 eterogeneo <info@eterogeneo.com>

>  My best wishes, Mark.
>
> fabio
>
> ----- Original Message -----
> *From:* mark francombe <mark@markfrancombe.com>
> *To:* Loopers-Delight@loopers-delight.com
> *Sent:* Wednesday, December 17, 2008 9:39 AM
> *Subject:* COMPLETELY OT!!! I got Married!!!
>
>
> Totally Offtopic, but a quick shout out to all my friends at LD to let you
> know that Hilde and me got married on Monday!!!
> Wish us luck!!!
>
> Heres a pic of the actual moment of "I do"!!!
>
> later
>
>
> MArk
>
> ------------------------------
>
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.9.19/1853 - Release Date: 17/12/2008
> 8.31
>
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

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lucky guy!<br><br><div class="gmail_quote">2008/12/17 eterogeneo <span dir="ltr">&lt;<a href="mailto:info@eterogeneo.com">info@eterogeneo.com</a>&gt;</span><br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">






<div bgcolor="#ffffff">
<div><font face="Book Antiqua" color="#000080">My best wishes, Mark. </font></div>
<div><font face="Book Antiqua" color="#000080"></font>&nbsp;</div>
<div><font face="Book Antiqua" color="#000080">fabio</font></div>
<blockquote style="padding-right:0px;padding-left:5px;margin-left:5px;border-left:#000080 2px solid;margin-right:0px"><div class="Ih2E3d">
  <div style="font:10pt arial">----- Original Message ----- </div>
  <div style="background:#e4e4e4;font:10pt arial"><b>From:</b> 
  <a title="mark@markfrancombe.com" href="mailto:mark@markfrancombe.com" target="_blank">mark 
  francombe</a> </div>
  <div style="font:10pt arial"><b>To:</b> <a title="Loopers-Delight@loopers-delight.com" href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a> 
  </div>
  <div style="font:10pt arial"><b>Sent:</b> Wednesday, December 17, 2008 9:39 
  AM</div>
  <div style="font:10pt arial"><b>Subject:</b> COMPLETELY OT!!! I got 
  Married!!!</div>
  <div><br></div><br></div><div><div></div><div class="Wj3C7c">Totally Offtopic, but a quick shout out to all my friends 
  at LD to let you know that Hilde and me got married on Monday!!!<br>Wish us 
  luck!!!<br><br>Heres a pic of the actual moment of &quot;I 
  do&quot;!!!<br><br>later<br><br><br>MArk<br>
  </div></div><p>
  </p><hr>

  <p></p><br>No virus found in this incoming message.<br>Checked by AVG - <a href="http://www.avg.com" target="_blank">http://www.avg.com</a> <br>Version: 8.0.176 / Virus 
  Database: 270.9.19/1853 - Release Date: 17/12/2008 
8.31<br><p></p></blockquote></div>
</blockquote></div><br><br clear="all"><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><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a><br>

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Join me

From: lucy@harmonics.com
To: rich@lullaby-babies.co.uk
Subject: Please help move this fun track up the system=3B-)=20
Date: Wed=2C 17 Dec 2008 23:40:01 +0000

Please help move this fun track up the system=3B-)ThanksC. L..

Begin forwarded message:From: james sanger <jamessanger1@mac.com>Date: 17 D=
ecember 2008 20:38:36 GMTTo: Charles Lucy <lucy@harmonics.com>Cc: Bruno de =
Florence <bruno@deflorence.com>=2C Richard Lucy <richard@hamsterbaskets.co.=
uk>=2C David Priestley-Michelsen <harp_man@mac.com>Subject: Re: New Skype i=
n number is 020 8123 1427=2C United Kingdom (+44)=2C should start soon=3B-)
 Hi there !! happy Christmas...
Can you please use you massive following to try and help publicize our atte=
mpt for Youtube  Christmas number one !!!!
Get people to RATE it and FAVOUR it !! as this will help put it on the fron=
t page..........
It already got to number 2 in the UK news and politics chart on Youtube !
'The Bling Kings'     http://uk.youtube.com/watch?v=3DRIaOTAYuY1E&fmt=3D18

Hi there=2C
I thought I'd quickly write to let you know that we have uploaded a music v=
ideo to a song we are hoping to get into everyones hearts and minds in the =
run up to Christmas.... and with your help we will !
 It is called 'The Bling Kings' .  It is a song about the psychopathic ego-=
mania of our modern day kings and queens.... how we are all the same and no=
 person has the right over another person=2C how a 'license to kill' from a=
nother human being is essentially counterfeit=2C no such thing exists.
We are hoping that it stands as a piece of lighthearted humanitarian propag=
anda and also as a song in it's own right. You can be the judge of that....=
 Please forward it on to as many of your friends as possible if you feel it=
 is appropriate... we are hoping to make this something that as many people=
 can enjoy and perhaps we can even remind people of their own power.
As our awareness blooms we must not forget that this is essentially a strug=
gle=2C people will do almost anything to stay in power. In our small way we=
 need to put them on notice that we do NOT see them as our betters=2C that =
we are NOT their flock of sheep to be manipulated into killing each other a=
t their whim=2C for their aggrandizement. They are the 'public servants' =
=2C it is not us who is the 'servant public' !
This song is a 'call to arms'. Or at least a 'call to link arms'=2C and sho=
w that we see through the crumbling facade of military consumerism.... of d=
ropping 100=2C000 dollar bombs on people who live on one dollar a day !=20
(Did you know that the pilotless drones that roam the skies above Afghanist=
an=2C Iraq and Pakistan now cost around 52 million dollars to make ? they r=
ecently were used in an attack on a wedding party=2C a school and so hundre=
ds of the poorest people of the world=2C who have never made any demands on=
 us or threatened us in any way=2C people like you and me have been killed =
by a weapon we value more than there own lives. The money we spend killing =
them could so easily be spent helping them.)
If you lost your family to an American bomb would you not feel tempted to s=
eek revenge ? and so some innocent kid from the American underclass is kill=
ed by an IED and so it goes on....
I had a vision once and came back with a message=2C a short sentence etched=
 into my brain=2C it was this...
"We are all the same=2C all the troubles in the world stem from the mistake=
n view that one group of people is separate from another"
I know it is obvious but for some reason I focused on this for years=2C I h=
ave mulled it over for twenty years and I can tell you know that as far as =
I can tell it is an unbreakable truth.
Loads of love to you all=2C
James Sanger

'The Bling Kings'     http://www.youtube.com/watch?v=3DRIaOTAYuY1E&fmt=3D18

 Charles Lucylucy@lucytune.com
- Promoting global harmony through LucyTuning -
for information on LucyTuning go to:http://www.lucytune.com
For LucyTuned Lullabies go to:http://www.lullabies.co.uk=20

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</head>
<body class=3D'hmmessage'>
<br><br><br><br><br><table style=3D"border-top: 1px solid black=3B font-wei=
ght: bold=3B font-family: 'Segoe UI'=2CTahoma=2Csan-serif=3B"><tbody><tr><t=
d><a href=3D"http://im.live.com/Messenger/IM/Home/?source=3DEML_WLHM_Greate=
rGood" style=3D"font-size: 9pt=3B color: rgb(1=2C 132=2C 203)=3B text-decor=
ation: none=3B"><br><span style=3D"padding: 0px 24px=3B font-size: 8pt=3B c=
olor: rgb(63=2C 181=2C 85)=3B text-decoration: underline=3B">Join me</span>=
</a></td></tr></tbody></table><br><br><hr id=3D"stopSpelling">From: lucy@ha=
rmonics.com<br>To: rich@lullaby-babies.co.uk<br>Subject: Please help move t=
his fun track up the system=3B-) <br>Date: Wed=2C 17 Dec 2008 23:40:01 +000=
0<br><br>Please help move this fun track up the system=3B-)<div>Thanks</div=
><div>C. L..<br><div><br><div>Begin forwarded message:</div><br class=3D"EC=
_Apple-interchange-newline"><blockquote><div><div style=3D"margin-right: 0p=
x=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family:=
 Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 12px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B color: rgb(0=2C 0=2C 0)=3B=
" color=3D"#000000" face=3D"Helvetica" size=3D"3"><b>From: </b></font><font=
 style=3D"font-family: Helvetica=3B font-style: normal=3B font-variant: nor=
mal=3B font-weight: normal=3B font-size: 12px=3B line-height: normal=3B fon=
t-size-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B" fac=
e=3D"Helvetica" size=3D"3">james sanger &lt=3B<a href=3D"mailto:jamessanger=
1@mac.com">jamessanger1@mac.com</a>&gt=3B</font></div><div style=3D"margin-=
right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"fon=
t-family: Helvetica=3B font-style: normal=3B font-variant: normal=3B font-w=
eight: normal=3B font-size: 12px=3B line-height: normal=3B font-size-adjust=
: none=3B font-stretch: normal=3B -x-system-font: none=3B color: rgb(0=2C 0=
=2C 0)=3B" color=3D"#000000" face=3D"Helvetica" size=3D"3"><b>Date: </b></f=
ont><font style=3D"font-family: Helvetica=3B font-style: normal=3B font-var=
iant: normal=3B font-weight: normal=3B font-size: 12px=3B line-height: norm=
al=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: non=
e=3B" face=3D"Helvetica" size=3D"3">17 December 2008 20:38:36 GMT</font></d=
iv><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0p=
x=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B font-v=
ariant: normal=3B font-weight: normal=3B font-size: 12px=3B line-height: no=
rmal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: n=
one=3B color: rgb(0=2C 0=2C 0)=3B" color=3D"#000000" face=3D"Helvetica" siz=
e=3D"3"><b>To: </b></font><font style=3D"font-family: Helvetica=3B font-sty=
le: normal=3B font-variant: normal=3B font-weight: normal=3B font-size: 12p=
x=3B line-height: normal=3B font-size-adjust: none=3B font-stretch: normal=
=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"3">Charles Lucy &lt=
=3B<a href=3D"mailto:lucy@harmonics.com">lucy@harmonics.com</a>&gt=3B</font=
></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left=
: 0px=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B fo=
nt-variant: normal=3B font-weight: normal=3B font-size: 12px=3B line-height=
: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-fon=
t: none=3B color: rgb(0=2C 0=2C 0)=3B" color=3D"#000000" face=3D"Helvetica"=
 size=3D"3"><b>Cc: </b></font><font style=3D"font-family: Helvetica=3B font=
-style: normal=3B font-variant: normal=3B font-weight: normal=3B font-size:=
 12px=3B line-height: normal=3B font-size-adjust: none=3B font-stretch: nor=
mal=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"3">Bruno de Flor=
ence &lt=3B<a href=3D"mailto:bruno@deflorence.com">bruno@deflorence.com</a>=
&gt=3B=2C Richard Lucy &lt=3B<a href=3D"mailto:richard@hamsterbaskets.co.uk=
">richard@hamsterbaskets.co.uk</a>&gt=3B=2C David Priestley-Michelsen &lt=
=3B<a href=3D"mailto:harp_man@mac.com">harp_man@mac.com</a>&gt=3B</font></d=
iv><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0p=
x=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B font-v=
ariant: normal=3B font-weight: normal=3B font-size: 12px=3B line-height: no=
rmal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: n=
one=3B color: rgb(0=2C 0=2C 0)=3B" color=3D"#000000" face=3D"Helvetica" siz=
e=3D"3"><b>Subject: </b></font><font style=3D"font-family: Helvetica=3B fon=
t-style: normal=3B font-variant: normal=3B font-weight: normal=3B font-size=
: 12px=3B line-height: normal=3B font-size-adjust: none=3B font-stretch: no=
rmal=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"3"><b>Re: New S=
kype in number is 020 8123 1427=2C United Kingdom (+44)=2C should start soo=
n=3B-)</b></font></div><div style=3D"margin-right: 0px=3B margin-bottom: 0p=
x=3B margin-left: 0px=3B min-height: 14px=3B"><br></div> </div><div style=
=3D""><div style=3D""><div style=3D"margin-right: 0px=3B margin-bottom: 0px=
=3B margin-left: 0px=3B">Hi there !! happy Christmas...</div><div style=3D"=
margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-family:=
 Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 12px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B min-height: 14px=3B"><br><=
/div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: =
0px=3B font-size: 16px=3B"><font style=3D"font-family: Helvetica=3B font-st=
yle: normal=3B font-variant: normal=3B font-weight: normal=3B line-height: =
normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font:=
 none=3B font-size: 16px=3B" face=3D"Helvetica" size=3D"3">Can you please u=
se you massive following to try and help&nbsp=3Bpublicize&nbsp=3Bour attemp=
t for Youtube &nbsp=3BChristmas number one !!!!</font></div><div style=3D"m=
argin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B"><br></div><d=
iv style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B =
font-size: 19px=3B">Get people to RATE it and FAVOUR it !! as this will hel=
p put it on the front page..........</div><div style=3D"margin-right: 0px=
=3B margin-bottom: 0px=3B margin-left: 0px=3B font-family: Helvetica=3B fon=
t-style: normal=3B font-variant: normal=3B font-weight: normal=3B line-heig=
ht: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-f=
ont: none=3B min-height: 14px=3B font-size: 19px=3B"><br></div><div style=
=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-siz=
e: 19px=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B =
font-variant: normal=3B font-weight: normal=3B line-height: normal=3B font-=
size-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B font-s=
ize: 19px=3B" face=3D"Helvetica" size=3D"3">It already got to number 2 in t=
he UK news and politics chart on Youtube !</font></div><div style=3D"margin=
-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-family: Helve=
tica=3B font-style: normal=3B font-variant: normal=3B font-weight: normal=
=3B font-size: 12px=3B line-height: normal=3B font-size-adjust: none=3B fon=
t-stretch: normal=3B -x-system-font: none=3B min-height: 14px=3B"><br></div=
><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=
=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B font-va=
riant: normal=3B font-weight: normal=3B font-size: 17px=3B line-height: nor=
mal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: no=
ne=3B color: rgb(0=2C 32=2C 226)=3B" color=3D"#0020e2" face=3D"Helvetica" s=
ize=3D"5"><u style=3D"text-decoration: none=3B"><span class=3D"EC_Apple-sty=
le-span" style=3D"color: rgb(0=2C 0=2C 0)=3B font-family: Futura=3B font-si=
ze: 20px=3B">'The Bling Kings' &nbsp=3B &nbsp=3B&nbsp=3B</span><a href=3D"h=
ttp://uk.youtube.com/watch?v=3DRIaOTAYuY1E&amp=3Bfmt=3D18">http://uk.youtub=
e.com/watch?v=3DRIaOTAYuY1E&amp=3Bfmt=3D18</a></u><u></u></font></div><div =
style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B fon=
t-family: Helvetica=3B font-style: normal=3B font-variant: normal=3B font-w=
eight: normal=3B font-size: 12px=3B line-height: normal=3B font-size-adjust=
: none=3B font-stretch: normal=3B -x-system-font: none=3B min-height: 14px=
=3B"><br></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B mar=
gin-left: 0px=3B font-family: Helvetica=3B font-style: normal=3B font-varia=
nt: normal=3B font-weight: normal=3B font-size: 12px=3B line-height: normal=
=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: none=
=3B min-height: 14px=3B"><br></div><div style=3D"margin-right: 0px=3B margi=
n-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family: Helvetica=
=3B font-style: normal=3B font-variant: normal=3B font-weight: normal=3B fo=
nt-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B font-stre=
tch: normal=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"4">Hi th=
ere=2C</font></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B=
 margin-left: 0px=3B font-family: Helvetica=3B font-style: normal=3B font-v=
ariant: normal=3B font-weight: normal=3B font-size: 12px=3B line-height: no=
rmal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: n=
one=3B min-height: 14px=3B"><br></div><div style=3D"margin-right: 0px=3B ma=
rgin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family: Helvet=
ica=3B font-style: normal=3B font-variant: normal=3B font-weight: normal=3B=
 font-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B font-s=
tretch: normal=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"4">I =
thought I'd quickly write to let you know that we have uploaded a music vid=
eo to a song we are hoping to get into everyones hearts and minds in the ru=
n up to Christmas.... and with your help we will !</font></div><div style=
=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-fam=
ily: Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight=
: normal=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: non=
e=3B font-stretch: normal=3B -x-system-font: none=3B min-height: 16px=3B"><=
br></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-le=
ft: 0px=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B =
font-variant: normal=3B font-weight: normal=3B font-size: 13px=3B line-heig=
ht: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-f=
ont: none=3B" face=3D"Helvetica" size=3D"4">&nbsp=3BIt is called&nbsp=3B</f=
ont><font style=3D"font-family: Futura=3B font-style: normal=3B font-varian=
t: normal=3B font-weight: normal=3B font-size: 13px=3B line-height: normal=
=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: none=
=3B" face=3D"Futura" size=3D"4">'The Bling Kings'&nbsp=3B</font><font style=
=3D"font-family: Helvetica=3B font-style: normal=3B font-variant: normal=3B=
 font-weight: normal=3B font-size: 13px=3B line-height: normal=3B font-size=
-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B" face=3D"H=
elvetica" size=3D"4">. &nbsp=3BIt is a song about the psychopathic ego-mani=
a of our modern day kings and queens.... how we are all the same and no per=
son has the right over another person=2C how a 'license to kill' from anoth=
er human being is essentially counterfeit=2C no such thing exists.</font></=
div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0=
px=3B font-family: Helvetica=3B font-style: normal=3B font-variant: normal=
=3B font-weight: normal=3B font-size: 13px=3B line-height: normal=3B font-s=
ize-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B min-hei=
ght: 16px=3B"><br></div><div style=3D"margin-right: 0px=3B margin-bottom: 0=
px=3B margin-left: 0px=3B"><font style=3D"font-family: Helvetica=3B font-st=
yle: normal=3B font-variant: normal=3B font-weight: normal=3B font-size: 13=
px=3B line-height: normal=3B font-size-adjust: none=3B font-stretch: normal=
=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"4">We are hoping th=
at it stands as a piece of lighthearted humanitarian propaganda and also as=
 a song in it's own right. You can be the judge of that.... Please forward =
it on to as many of your friends as possible if you feel it is appropriate.=
.. we are hoping to make this something that as many people can enjoy and p=
erhaps we can even remind people of their own power.</font></div><div style=
=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-fam=
ily: Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight=
: normal=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: non=
e=3B font-stretch: normal=3B -x-system-font: none=3B min-height: 16px=3B"><=
br></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-le=
ft: 0px=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B =
font-variant: normal=3B font-weight: normal=3B font-size: 13px=3B line-heig=
ht: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-f=
ont: none=3B" face=3D"Helvetica" size=3D"4">As our awareness blooms we must=
 not forget that this is essentially a struggle=2C people will do almost an=
ything to stay in power. In our small way we need to put them on notice tha=
t we do NOT see them as our betters=2C that we are NOT their flock of sheep=
 to be manipulated into killing each other at their whim=2C for their aggra=
ndizement. They are the 'public servants' =2C it is not us who is the 'serv=
ant public' !</font></div><div style=3D"margin-right: 0px=3B margin-bottom:=
 0px=3B margin-left: 0px=3B font-family: Helvetica=3B font-style: normal=3B=
 font-variant: normal=3B font-weight: normal=3B font-size: 13px=3B line-hei=
ght: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-=
font: none=3B min-height: 16px=3B"><br></div><div style=3D"margin-right: 0p=
x=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family:=
 Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B" face=3D"Helvetica" size=
=3D"4">This song is a 'call to arms'. Or at least a 'call to link arms'=2C =
and show that we see through the crumbling facade of military consumerism..=
.. of dropping 100=2C000 dollar bombs on people who live on one dollar a da=
y !&nbsp=3B</font></div><div style=3D"margin-right: 0px=3B margin-bottom: 0=
px=3B margin-left: 0px=3B font-family: Helvetica=3B font-style: normal=3B f=
ont-variant: normal=3B font-weight: normal=3B font-size: 13px=3B line-heigh=
t: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-fo=
nt: none=3B min-height: 16px=3B"><br></div><div style=3D"margin-right: 0px=
=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family: =
Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: nor=
mal=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B =
font-stretch: normal=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D=
"4">(Did you know that the pilotless drones that roam the skies above Afgha=
nistan=2C Iraq and Pakistan now cost around 52 million dollars to make ? th=
ey recently were used in an attack on a wedding party=2C a school and so hu=
ndreds of the poorest people of the world=2C who have never made any demand=
s on us or threatened us in any way=2C people like you and me have been kil=
led by a weapon we value more than there own lives. The money we spend kill=
ing them could so easily be spent helping them.)</font></div><div style=3D"=
margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-family:=
 Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 12px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B min-height: 14px=3B"><br><=
/div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: =
0px=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B font=
-variant: normal=3B font-weight: normal=3B font-size: 13px=3B line-height: =
normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font:=
 none=3B" face=3D"Helvetica" size=3D"4">If you lost your family to an Ameri=
can bomb would you not feel tempted to seek revenge ? and so some&nbsp=3Bin=
nocent&nbsp=3Bkid from the American underclass is killed by an IED and so i=
t goes on....</font></div><div style=3D"margin-right: 0px=3B margin-bottom:=
 0px=3B margin-left: 0px=3B font-family: Helvetica=3B font-style: normal=3B=
 font-variant: normal=3B font-weight: normal=3B font-size: 12px=3B line-hei=
ght: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-=
font: none=3B min-height: 14px=3B"><br></div><div style=3D"margin-right: 0p=
x=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family:=
 Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B" face=3D"Helvetica" size=
=3D"4">I had a vision once and came back with a message=2C a short sentence=
 etched into my brain=2C it was this...</font></div><div style=3D"margin-ri=
ght: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-family: Helvetic=
a=3B font-style: normal=3B font-variant: normal=3B font-weight: normal=3B f=
ont-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B font-str=
etch: normal=3B -x-system-font: none=3B min-height: 16px=3B"><br></div><div=
 style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B"><=
font style=3D"font-family: Helvetica=3B font-style: normal=3B font-variant:=
 normal=3B font-weight: normal=3B font-size: 13px=3B line-height: normal=3B=
 font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B"=
 face=3D"Helvetica" size=3D"4">"We are all the same=2C all the troubles in =
the world stem from the mistaken view that one group of people is separate =
from another"</font></div><div style=3D"margin-right: 0px=3B margin-bottom:=
 0px=3B margin-left: 0px=3B font-family: Helvetica=3B font-style: normal=3B=
 font-variant: normal=3B font-weight: normal=3B font-size: 13px=3B line-hei=
ght: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-=
font: none=3B min-height: 16px=3B"><br></div><div style=3D"margin-right: 0p=
x=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-family:=
 Helvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B" face=3D"Helvetica" size=
=3D"4">I know it is obvious but for some reason I focused on this for years=
=2C I have mulled it over for twenty years and I can tell you know that as =
far as I can tell it is an unbreakable truth.</font></div><div style=3D"mar=
gin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B font-family: He=
lvetica=3B font-style: normal=3B font-variant: normal=3B font-weight: norma=
l=3B font-size: 13px=3B line-height: normal=3B font-size-adjust: none=3B fo=
nt-stretch: normal=3B -x-system-font: none=3B min-height: 16px=3B"><br></di=
v><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=
=3B"><font style=3D"font-family: Helvetica=3B font-style: normal=3B font-va=
riant: normal=3B font-weight: normal=3B font-size: 13px=3B line-height: nor=
mal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-system-font: no=
ne=3B" face=3D"Helvetica" size=3D"4">Loads of love to you all=2C</font></di=
v><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-left: 0px=
=3B font-family: Helvetica=3B font-style: normal=3B font-variant: normal=3B=
 font-weight: normal=3B font-size: 13px=3B line-height: normal=3B font-size=
-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B min-height=
: 16px=3B"><br></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=
=3B margin-left: 0px=3B"><font style=3D"font-family: Helvetica=3B font-styl=
e: normal=3B font-variant: normal=3B font-weight: normal=3B font-size: 13px=
=3B line-height: normal=3B font-size-adjust: none=3B font-stretch: normal=
=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"4">James Sanger</fo=
nt></div><div style=3D"margin-right: 0px=3B margin-bottom: 0px=3B margin-le=
ft: 0px=3B font-family: Helvetica=3B font-style: normal=3B font-variant: no=
rmal=3B font-weight: normal=3B font-size: 12px=3B line-height: normal=3B fo=
nt-size-adjust: none=3B font-stretch: normal=3B -x-system-font: none=3B min=
-height: 14px=3B"><br></div><div style=3D"margin-right: 0px=3B margin-botto=
m: 0px=3B margin-left: 0px=3B font-family: Helvetica=3B font-style: normal=
=3B font-variant: normal=3B font-weight: normal=3B font-size: 12px=3B line-=
height: normal=3B font-size-adjust: none=3B font-stretch: normal=3B -x-syst=
em-font: none=3B min-height: 14px=3B"><br></div><div style=3D"margin-right:=
 0px=3B margin-bottom: 0px=3B margin-left: 0px=3B"><font style=3D"font-fami=
ly: Futura=3B font-style: normal=3B font-variant: normal=3B font-weight: no=
rmal=3B font-size: 12px=3B line-height: normal=3B font-size-adjust: none=3B=
 font-stretch: normal=3B -x-system-font: none=3B" face=3D"Futura" size=3D"3=
">'The Bling Kings'</font><font style=3D"font-family: Helvetica=3B font-sty=
le: normal=3B font-variant: normal=3B font-weight: normal=3B font-size: 12p=
x=3B line-height: normal=3B font-size-adjust: none=3B font-stretch: normal=
=3B -x-system-font: none=3B" face=3D"Helvetica" size=3D"3">&nbsp=3B&nbsp=3B=
 &nbsp=3B&nbsp=3B<font style=3D"color: rgb(0=2C 49=2C 221)=3B" color=3D"#00=
31dd"><u><a href=3D"http://www.youtube.com/watch?v=3DRIaOTAYuY1E&amp=3Bfmt=
=3D18">http://www.youtube.com/watch?v=3DRIaOTAYuY1E&amp=3Bfmt=3D18</a></u><=
/font></font></div><div><font class=3D"EC_Apple-style-span" color=3D"#0031d=
d"><span class=3D"EC_Apple-style-span" style=3D"text-decoration: underline=
=3B"><br></span></font></div></div></div></blockquote></div><br><div> <span=
 class=3D"EC_Apple-style-span" style=3D"border-collapse: separate=3B color:=
 rgb(0=2C 0=2C 0)=3B font-family: Helvetica=3B font-size: 12px=3B font-styl=
e: normal=3B font-variant: normal=3B font-weight: normal=3B letter-spacing:=
 normal=3B line-height: normal=3B text-indent: 0px=3B text-transform: none=
=3B white-space: normal=3B word-spacing: 0px=3B"><div style=3D""><div><div>=
Charles Lucy</div><div><a href=3D"mailto:lucy@lucytune.com">lucy@lucytune.c=
om</a></div><div><br></div><div>- Promoting global harmony through LucyTuni=
ng -</div><div><br></div><div>for information on LucyTuning go to:</div><di=
v><a href=3D"http://www.lucytune.com">http://www.lucytune.com</a></div><div=
><br></div><div>For LucyTuned Lullabies go to:</div><div><a href=3D"http://=
www.lullabies.co.uk">http://www.lullabies.co.uk</a></div><div><br class=3D"=
EC_webkit-block-placeholder"></div></div></div></span><br class=3D"EC_Apple=
-interchange-newline"> </div><br></div></body>
</html>=

--_15d7dd0d-0a26-4798-a789-3061cf6ae322_--

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 09:47:25 2008
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Message-ID: <66f9cc1e0812180147x375d702egbdaeee7833150e88@mail.gmail.com>
Date: Thu, 18 Dec 2008 10:47:24 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: New video demos on MainStage (by Apple and NiN)
Cc: zonemobius@yahoogroups.com
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Hi,

If interested in MainStage (OS X) for a looper plug-in host or pre
amp, check out these two new video's put up by Apple. One is keyboard
player focused and the other one is from the last Nine Inch Nails
tour, where they used MainStage a lot.
http://www.apple.com/logicstudio/action/

To show how MainStage can be customized as a looping interface I made
these two simple screen shots:

MainStage hosting three instances of the AU plug-in Augustus Looper,
that now has the multilooper script that is perfectly matching a set
up like this:
http://www.looproom.com/bilder/mainstagelooper.png

MainStage as pre amp and effect rig, daisy chained into Mobius
standalone looper on a MacBook:
http://www.boysen.se/bilder/mobius_mainstage.png

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Reply-To: <UsaPulsanteGiallo@eBay.it>
From: "Utente di eBay: nef973"<member@eBay.it>
Subject: nef973 ha inviato una domanda sull'oggetto
Date: Thu, 18 Dec 2008 04:43:48 -0500
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Non rispondere al mittente se nel messaggio ti viene richiesto di completare la transazione al di fuori di eBay. Questo tipo di proposta viola le Regole di eBay, può essere fraudolenta e non è coperta dai programmi di protezione acquirente. <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank rel=nofollow><FONT color=#003399>Ulteriori informazioni</FONT></A>.</TD>
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<TD><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><BR>ciao, la denuncia e partita se vuoi che la ritiro rimandami ii miei soldi indietro altrimente ti meto in processo.aspeto una risposta<BR><BR>
<DIV style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">- nef973</DIV></FONT></TD>
<TD vAlign=top width=185><A title=http://rebulk.ebay.it/ws/eBayISAPI.dll?ResolveDispute&amp;DisputeId=179874012&amp;ssPageName=ADME:L:INRNSIDF:IT:1159 href="http://yoshida-akira.jp/accedi/accedisingninperlatuasiccurezzaentraconlaccountelid.htm" target=_blank><IMG height=32 src="http://pics.ebaystatic.com/aw/pics/it/buttons/btnRespondNow.gif" width=120 border=0></A></TD></TR></TBODY></TABLE></DIV></DIV>
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<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap colSpan=2>Oggetto e dettagli utente</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">Titolo dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">Numero oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top><A href="http://yoshida-akira.jp/accedi/accedisingninperlatuasiccurezzaentraconlaccountelid.htm">300280183878</A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">URL dell'oggetto:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top><A href="http://yoshida-akira.jp/accedi/accedisingninperlatuasiccurezzaentraconlaccountelid.htm" target=_blank rel=nofollow><FONT color=#003399>http:/cgi.ebay.it/ws/eBayISAPI.dll?ViewItem&amp;item=300280183878</FONT></A></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top noWrap width="15%">Fine:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>12-Dic-08 09:10:47 CET</TD></TR>
<TR vAlign=top>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" vAlign=top>Dall'utente:</TD>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">
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<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif"><A href="http://yoshida-akira.jp/accedi/accedisingninperlatuasiccurezzaentraconlaccountelid.htm" target=_blank rel=nofollow><FONT color=#003399>nef973</FONT></A> (<A href="http://yoshida-akira.jp/accedi/accedisingninperlatuasiccurezzaentraconlaccountelid.htm" target=_blank rel=nofollow><FONT color=#003399>13</FONT></A><FONT color=#003399><IMG height=25 src="http://pics.ebaystatic.com/aw/pics/it/icon/iconYellowStar_25x25.gif" width=25 align=absMiddle></FONT>)</FONT></TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap>100.0% Feedback positivi</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap>Utente dal 10-Mag-01 in Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap>Luogo: other, Italia</TD></TR>
<TR>
<TD style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Attività con nef973 (ultimi 90 giorni): nef973 ha fatto delle offerte su <B>0</B> dei miei oggetti.</FONT></TD></TR></TBODY></TABLE></TD></TR>
<TR>
<TD colSpan=2><FONT style="FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif">Questo messaggio è stato inviato mentre l'inserzione era <STRONG>in corso.</STRONG> nef973 è un <B>potenziale acquirente</B>.</FONT></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<TD><IMG height=25 alt="Suggerimenti sulla sicurezza" src="http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgShield_25x25.gif" width=25 align=absMiddle></TD>
<TD style="FONT-WEIGHT: bold; FONT-SIZE: 10pt; COLOR: #000; FONT-FAMILY: arial, sans-serif" noWrap width="20%">Suggerimenti sulla sicurezza</TD>
<TD><IMG height=25 alt="" src="http://pics.ebaystatic.com/aw/pics/it/securityCenter/imgTabCorner_25x25.gif" width=25 align=absMiddle></TD>
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<UL style="MARGIN-TOP: 5px; MARGIN-BOTTOM: 5px">
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square"><A href="http://pages.ebay.it/help/buy/payment.html" target=_blank rel=nofollow><FONT color=#003399>Tieni il tuo denaro al sicuro</FONT></A>: non pagare mai oggetti in contanti né con servizi di trasferimento fondi, come Western Union o MoneyGram. In passato alcuni venditori hanno sfruttato questi metodi di pagamento per frodare gli acquirenti e sono stati banditi dal sito. 
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Ha ricevuto un'email di Offerta diretta? <A href="http://pages.ebay.it/help/buy/personal-offer.html" target=_blank rel=nofollow><FONT color=#003399>Controlla che sia autentica</FONT></A>: le email di Offerta diretta provengono direttamente da eBay e le trovi anche in I miei messaggi. 
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Fai acquisti in sicurezza. Diffida di chi ti contatta per <A href="http://pages.ebay.it/help/policies/rfe-spam-non-ebay-sale.html" target=_blank rel=nofollow><FONT color=#003399>acquisti e vendite all'esterno di eBay</FONT></A>. Quando effettui transazioni fuori da eBay, non puoi lasciare un commento di Feedback né sfruttare i programmi di protezione e gli strumenti per la risoluzione delle dispute. <A href="http://contact.ebay.it/ws/eBayISAPI.dll?ContactUs&amp;wftype=3002" target=_blank rel=nofollow><FONT color=#003399>Segnala</FONT></A> eventuali email inappropriate. 
<LI style="PADDING-BOTTOM: 3px; LINE-HEIGHT: 120%; PADDING-TOP: 3px; LIST-STYLE-TYPE: square">Gli strumenti di messaggistica eBay garantiscono la tua privacy e sicurezza online. Se non hai effettuato transazioni con l'utente che ti ha contattato, entrambi i vostri indirizzi email vengono resi anonimi.</LI></UL></TD></TR>
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<TD style="BACKGROUND-COLOR: #c9d2dc" colSpan=4><IMG height=1 src="http://pics.ebaystatic.com/aw/pics/it/s.gif" width=1></TD></TR></TBODY></TABLE><BR></DIV></DIV>
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<TD width="100%"><FONT style="FONT-SIZE: xx-small; COLOR: #666; FONT-FAMILY: verdana"><A href="http://pages.ebay.it/education/spooftutorial/index.html" target=_blank rel=nofollow><FONT color=#003399>Ulteriori informazioni</FONT></A> su come proteggerti dalle email contraffatte.<BR><BR>Un altro utente eBay ha inviato questa email all'indirizzo gabriang1@yahoo.it tramite la piattaforma eBay. eBay non è in alcun modo responsabile né dell'invio di questa email né dei suoi contenuti<BR><BR>Per qualsiasi domanda al riguardo, consulta le <A href="http://pages.ebay.it/help/policies/privacy-policy.html" target=_blank rel=nofollow><FONT color=#003399>Regole sulla Privacy</FONT></A> e l'<A href="http://pages.ebay.it/help/policies/user-agreement.html" target=_blank rel=nofollow><FONT color=#003399>Accordo per gli utenti</FONT></A>.<BR><BR>Puoi <A href="http://pages.ebay.it/help/policies/rfe-spam-ov.html" target=_blank rel=nofollow><FONT color=#003399>segnalare questo messaggio</FONT></A> come email non richiesta (di spa

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Subject: A software EDP Plugin?
Date: Thu, 18 Dec 2008 04:14:18 -0800
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hey. I used echoplexes for years... still have 2. And two  
footswitches. Synching and signal routing back and fourth has never  
worked out for me as well as I'd have liked... so Matthias... any  
chance we'll see software plugin I can put into my Mac Live or Ableton  
and maybe even somehow finagle my current footswitches to work with it?

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Subject: Re: EDP and Logic question
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it may even be your midi interface on its own when logic connects

a work around may be to change the controler nb thats assigned to 
feedback to a nb that is not reset at boot

Claude



Daniel Hegarty a écrit :
> Thanks Claude,
> I should clarify, it's not happening when I open a project, it's actually
> only happening when I initially open Logic.
> 
> I tried the obvious options and it's still occurring.
> 
> Thanks
> D
> 
> 2008/12/17 Claude Voit <c.voit@vtx.ch>
> 
>> logic is sending some kind of reset  message "reset all controlers" search
>> in the option should be a switch somewhere
>>
>> Claude
>> Daniel Hegarty a écrit :
>>
>>  Hey all,
>>> I'm experiencing something a little odd while controlling multiple EDPs
>>> via
>>> Logic.
>>>
>>> I'm using 4 EDPs simultaneously all factory reset. I'm not using any
>>> syncing
>>> just SUS commands to keep all the loops at precisely the same length.
>>>
>>> Obviously I switch EDPs on 1st to allow them to boot and then I open the
>>> Logic file that has the MIDI parts to control them all. This is when my
>>> problem occurs. As soon as the file opens, a 0 appears on the displays of
>>> all the EDPs, it appears that it is resetting the feedback value to 0. So
>>> I
>>> then have to manually turn the feedback up and down on each unit before
>>> beginning to play. It's not the end of the world but it's just one more
>>> vital thing to remember!
>>>
>>> I'm wondering if there's either a way to stop it, or to include a MIDI
>>> command at the beginning of each track to reset the feedback to 127.
>>>
>>> Any help gratefully received.
>>>
>>> Thanks
>>> Daniel
>>>
>>>
> 

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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
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll continue the month-long
Special Focus on Tangerine Dream, the most emulated band in electronic
music.  The Featured CD at Midnight will "Summer In 'Nagasaki" by
Tangerine Dream on Eastgate Records.

For details, see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#oct

Become a friend of Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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 EST / GMT-5 / ITZ-5.

Listen on-line to WDIY at http://wdiy.org and click LISTEN or go
directly to: http://war.str3am.com:7880/listen.pls

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http://muhlenberg.edu/wmuh/WMUH.ram

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Date: Thu, 18 Dec 2008 12:55:43 +0000
From: "Daniel Hegarty" <danielphegarty@googlemail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: EDP and Logic question
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have you any idea where that setting would be?
thanks
Daniel

2008/12/18 Claude Voit <c.voit@vtx.ch>

> it may even be your midi interface on its own when logic connects
>
> a work around may be to change the controler nb thats assigned to feedbac=
k
> to a nb that is not reset at boot
>
>
> Claude
>
>
>
> Daniel Hegarty a =E9crit :
>
>> Thanks Claude,
>> I should clarify, it's not happening when I open a project, it's actuall=
y
>> only happening when I initially open Logic.
>>
>> I tried the obvious options and it's still occurring.
>>
>> Thanks
>> D
>>
>> 2008/12/17 Claude Voit <c.voit@vtx.ch>
>>
>>  logic is sending some kind of reset  message "reset all controlers"
>>> search
>>> in the option should be a switch somewhere
>>>
>>> Claude
>>> Daniel Hegarty a =E9crit :
>>>
>>>  Hey all,
>>>
>>>> I'm experiencing something a little odd while controlling multiple EDP=
s
>>>> via
>>>> Logic.
>>>>
>>>> I'm using 4 EDPs simultaneously all factory reset. I'm not using any
>>>> syncing
>>>> just SUS commands to keep all the loops at precisely the same length.
>>>>
>>>> Obviously I switch EDPs on 1st to allow them to boot and then I open t=
he
>>>> Logic file that has the MIDI parts to control them all. This is when m=
y
>>>> problem occurs. As soon as the file opens, a 0 appears on the displays
>>>> of
>>>> all the EDPs, it appears that it is resetting the feedback value to 0.
>>>> So
>>>> I
>>>> then have to manually turn the feedback up and down on each unit befor=
e
>>>> beginning to play. It's not the end of the world but it's just one mor=
e
>>>> vital thing to remember!
>>>>
>>>> I'm wondering if there's either a way to stop it, or to include a MIDI
>>>> command at the beginning of each track to reset the feedback to 127.
>>>>
>>>> Any help gratefully received.
>>>>
>>>> Thanks
>>>> Daniel
>>>>
>>>>
>>>>
>>
>

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have you any idea where that setting would be?<div><br></div><div>thanks</d=
iv><div>Daniel<br><br><div class=3D"gmail_quote">2008/12/18 Claude Voit <sp=
an dir=3D"ltr">&lt;c.voit@vtx.ch&gt;</span><br><blockquote class=3D"gmail_q=
uote" style=3D"margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1e=
x;">
it may even be your midi interface on its own when logic connects<br>
<br>
a work around may be to change the controler nb thats assigned to feedback =
to a nb that is not reset at boot<div><div></div><div class=3D"Wj3C7c"><br>
<br>
Claude<br>
<br>
<br>
<br>
Daniel Hegarty a =E9crit :<br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex">
Thanks Claude,<br>
I should clarify, it&#39;s not happening when I open a project, it&#39;s ac=
tually<br>
only happening when I initially open Logic.<br>
<br>
I tried the obvious options and it&#39;s still occurring.<br>
<br>
Thanks<br>
D<br>
<br>
2008/12/17 Claude Voit &lt;c.voit@vtx.ch&gt;<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex">
logic is sending some kind of reset &nbsp;message &quot;reset all controler=
s&quot; search<br>
in the option should be a switch somewhere<br>
<br>
Claude<br>
Daniel Hegarty a =E9crit :<br>
<br>
&nbsp;Hey all,<br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex">
I&#39;m experiencing something a little odd while controlling multiple EDPs=
<br>
via<br>
Logic.<br>
<br>
I&#39;m using 4 EDPs simultaneously all factory reset. I&#39;m not using an=
y<br>
syncing<br>
just SUS commands to keep all the loops at precisely the same length.<br>
<br>
Obviously I switch EDPs on 1st to allow them to boot and then I open the<br=
>
Logic file that has the MIDI parts to control them all. This is when my<br>
problem occurs. As soon as the file opens, a 0 appears on the displays of<b=
r>
all the EDPs, it appears that it is resetting the feedback value to 0. So<b=
r>
I<br>
then have to manually turn the feedback up and down on each unit before<br>
beginning to play. It&#39;s not the end of the world but it&#39;s just one =
more<br>
vital thing to remember!<br>
<br>
I&#39;m wondering if there&#39;s either a way to stop it, or to include a M=
IDI<br>
command at the beginning of each track to reset the feedback to 127.<br>
<br>
Any help gratefully received.<br>
<br>
Thanks<br>
Daniel<br>
<br>
<br>
</blockquote></blockquote>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br></div>

------=_Part_33579_3603828.1229604943758--

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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <20081212113900.7OTR0.1328613.root@mp18>
Subject: Re: ANYBODY KNOW ANYTHING ABOUT "BAND CAMP" AS A MUSIC HOSTING SERVICE?
Date: Thu, 18 Dec 2008 08:46:06 -0500
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The sound quality is certainly good. wav, flac, or aiff upload only. 305 
megabyte max upload per tune. Or as they say in the faq:

"the exact size of "Inamorata and Narration by Conrad Roberts" from side 4 
of Miles Davis' Live-Evil (assuming we're talking 44.1kHz 16-bit AIFF, which 
we always are) If you have something to say that's longer/larger than that, 
you are a jam band and we cannot be a party to the dissemination of your 
output (j/k jam bands, we love you too -- but please take a quick hacky-sack 
break at 26:29)."

I get a headache when reading this kind of stuff 
http://bandcamp.mu/terms_of_use#rights I guess it's normal stuff? Anyone?
The pages are pretty plain although some have dressed them up some. They say 
they will be adding new features in the faq.

I might give them a try. Maybe contact some of their other clients. I like 
being able to put up extended jams and the high quality is great. If you 
allow downloads people can choose from a nice assortment of formats.

my 1st take on it...

Jeff

----- Original Message ----- 
From: "tEd ® kiLLiAn" <tedkillian@charter.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 12, 2008 11:39 AM
Subject: ANYBODY KNOW ANYTHING ABOUT "BAND CAMP" AS A MUSIC HOSTING SERVICE?


Anyone know anything about it?

They've only been in business a few months and already have over a thousand 
bands signed up.

Seattle frettless guitar looper Tom Baker and SoCal singer/songweriter Glen 
Phillips are both on it (for folks I sortta know).

Anybody here have any thoughts?

Best regards,

tEd ® kiLLiAn

Man is the only animal that can remain on friendly terms with the victims he 
intends to eat until he eats them. – Samuel Butler (1835 - 1902)

http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes



--------------------------------------------------------------------------------



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Checked by AVG - http://www.avg.com
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9:02 AM

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 14:01:01 2008
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in the manual

:=)

Claude

Daniel Hegarty a écrit :
> have you any idea where that setting would be?
> thanks
> Daniel
> 
> 2008/12/18 Claude Voit <c.voit@vtx.ch>
> 
>> it may even be your midi interface on its own when logic connects
>>
>> a work around may be to change the controler nb thats assigned to feedback
>> to a nb that is not reset at boot
>>
>>
>> Claude
>>
>>
>>
>> Daniel Hegarty a écrit :
>>
>>> Thanks Claude,
>>> I should clarify, it's not happening when I open a project, it's actually
>>> only happening when I initially open Logic.
>>>
>>> I tried the obvious options and it's still occurring.
>>>
>>> Thanks
>>> D
>>>
>>> 2008/12/17 Claude Voit <c.voit@vtx.ch>
>>>
>>>  logic is sending some kind of reset  message "reset all controlers"
>>>> search
>>>> in the option should be a switch somewhere
>>>>
>>>> Claude
>>>> Daniel Hegarty a écrit :
>>>>
>>>>  Hey all,
>>>>
>>>>> I'm experiencing something a little odd while controlling multiple EDPs
>>>>> via
>>>>> Logic.
>>>>>
>>>>> I'm using 4 EDPs simultaneously all factory reset. I'm not using any
>>>>> syncing
>>>>> just SUS commands to keep all the loops at precisely the same length.
>>>>>
>>>>> Obviously I switch EDPs on 1st to allow them to boot and then I open the
>>>>> Logic file that has the MIDI parts to control them all. This is when my
>>>>> problem occurs. As soon as the file opens, a 0 appears on the displays
>>>>> of
>>>>> all the EDPs, it appears that it is resetting the feedback value to 0.
>>>>> So
>>>>> I
>>>>> then have to manually turn the feedback up and down on each unit before
>>>>> beginning to play. It's not the end of the world but it's just one more
>>>>> vital thing to remember!
>>>>>
>>>>> I'm wondering if there's either a way to stop it, or to include a MIDI
>>>>> command at the beginning of each track to reset the feedback to 127.
>>>>>
>>>>> Any help gratefully received.
>>>>>
>>>>> Thanks
>>>>> Daniel
>>>>>
>>>>>
>>>>>
> 

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Per Boysen wrote:
> A user can emulate loop windowing by setting up a script that runs a
> random number of Undo or Redo commands. This would IMHO be better than
> the original EDP loop windowing because you don't have to trim down
> the loop length before it becomes possible.
> 

That's *not* a limitation that the edp actually has.
Maybe that was true back in Loop3.



andy

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Date: Thu, 18 Dec 2008 14:49:07 +0000
From: "andy patterson" <talesfromforestgnomes@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Echoplex and Ground control
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Hey i was just wondering if anyone could fill me in on this quote by kim flint.

"
we caved in and
figured out ways to make midi program change messages control Echoplex
functions. It doesn't work nearly as well as note-on/offs, but at least all
the people with Ground Controls will be able to use them.
"

is there a turorial somewere?
cheers, andy

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<pre><font size="2">Hey i was just wondering if anyone could fill me in on this quote by kim flint.</font><br><br>&quot;<br>we caved in and<br>figured out ways to make midi program change messages control Echoplex<br>functions. It doesn&#39;t work nearly as well as note-on/offs, but at least all<br>
the people with Ground Controls will be able to use them.<br>&quot;<br><br>is there a turorial somewere?<br>cheers, andy<br><br></pre>

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Did that actually get implemented?  I thought you could use CC or Note, but
PC was only for selecting presets?
TH

On Thu, Dec 18, 2008 at 6:49 AM, andy patterson <
talesfromforestgnomes@gmail.com> wrote:

> Hey i was just wondering if anyone could fill me in on this quote by kim flint.
>
> "
> we caved in and
> figured out ways to make midi program change messages control Echoplex
> functions. It doesn't work nearly as well as note-on/offs, but at least all
>
> the people with Ground Controls will be able to use them.
> "
>
>

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Did that actually get implemented? &nbsp;I thought you could use CC or Note, but PC was only for selecting presets?<div><br></div><div>TH<br><br><div class="gmail_quote">On Thu, Dec 18, 2008 at 6:49 AM, andy patterson <span dir="ltr">&lt;<a href="mailto:talesfromforestgnomes@gmail.com">talesfromforestgnomes@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><pre><font size="2">Hey i was just wondering if anyone could fill me in on this quote by kim flint.</font><br><br>&quot;<br>
we caved in and<br>figured out ways to make midi program change messages control Echoplex<br>functions. It doesn&#39;t work nearly as well as note-on/offs, but at least all<br>
the people with Ground Controls will be able to use them.<br>&quot;<br><br></pre>
</blockquote></div><br></div>

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Raul Bonell wrote:
> http://www.youtube.com/watch?v=0y4K6Ls1rlM
> -- 

Please be aware that Andre usually sounds many times
better than the awfully lo-fi audio on this vid.

Much better to go to
http://www.altruistmusic.com/
and get some audio.




andy

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Buzap Buzap wrote:
> Wasn't the EDP window looping "feature" more of a bug initially?
> OK, PostIts were, too. ;-)

yes, bug in loop3,

feature in loop4

> 
> I guess my concern is that people don't distract Jeff from the Mac port ;-) 

well, hopefully Jeff will dream up a musically useful feature
set inspired by the loop windowing thing.




If anyone wants a clue as to what loop windowing is,
on this track, the loop window happens at 2minutes

http://www.andybutler.com/mp3/backwater.mp3

after a load of 8th replace on a single cycle and a multiply to 8 cycles.

andy butler

> 
> best regards
> Buzap

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He used a DI from the amp, to get a full frequency sound.
(avoiding using the speaker)
Then, if I remember right, there's a few mastering FX as well,
especially to give the bass more punch.

...but most of the sound comes from the fingers



andy




Buzap Buzap wrote:
> so it's just a tube amp, really?
> I really liked the sound...
> 

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--------------010005030504030705040509
Content-Type: text/plain; charset=ISO-8859-1; format=flowed
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For all those in need of some time to relax
in the busiest time of the year here's an offer 
of some relaxed looping for your lunch break
or evening chill (depending on where you're located).

Christian Rover's new CD with lots of looping
will be featured on MDR Figaro Radio on

Friday, December 19th,2008
1:35pm to 2pm Eastern Standard Time in the US
or 7:35 pm to 8 pm (MEZ) in Europe

Tune in on your terrestrial radio
or anywhere in the world
on the internet at

http://www.mdr.de/mdr-figaro/524774.html

Enjoy & Seasons Greetings !

----

Die neue Christian Röver CD am 19.12.
von 19:35-20:00 Uhr auf MDR Figaro.
Im Sendegebiet des MDR, über Satellit oder
weltweit als Stream auf

http://www.mdr.de/mdr-figaro/524774.html

Viel Spass und eine entspannte Vorweihnacht !

www.myspace.com/christianrover


--------------010005030504030705040509
Content-Type: text/html; charset=ISO-8859-1
Content-Transfer-Encoding: 7bit

<!DOCTYPE html PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
<html>
<head>
</head>
<body bgcolor="#ffffff" text="#000000">
<div class="moz-text-flowed"   style="font-family: -moz-fixed; font-size: 13px;" lang="x-western">For
all those in need of some time to relax
<br>
in the busiest time of the year here's an offer&nbsp;<br>
of some relaxed looping for your lunch break
<br>
or evening chill (depending on where you're located).
<br>
<br>
Christian Rover's new CD with lots of looping
<br>
will be featured on MDR Figaro Radio on
<br>
<br>
Friday, December 19th,2008
<br>
1:35pm to 2pm Eastern Standard Time in the US
<br>
or 7:35 pm to 8 pm (MEZ) in Europe
<br>
<br>
Tune in on your terrestrial radio
<br>
or anywhere in the world
<br>
on the internet at
<br>
<br>
<a class="moz-txt-link-freetext"   href="http://www.mdr.de/mdr-figaro/524774.html">http://www.mdr.de/mdr-figaro/524774.html</a>
<br>
<br>
Enjoy &amp; Seasons Greetings !
<br>
<br>
----
<br>
<br>
Die neue Christian R&ouml;ver CD am 19.12.
<br>
von 19:35-20:00 Uhr auf
MDR Figaro.
<br>
Im Sendegebiet des MDR, &uuml;ber Satellit oder
<br>
weltweit als Stream auf
<br>
<br>
<a class="moz-txt-link-freetext"   href="http://www.mdr.de/mdr-figaro/524774.html">http://www.mdr.de/mdr-figaro/524774.html</a>
<br>
<br>
Viel Spass und eine entspannte Vorweihnacht !
<br>
<br>
<a class="moz-txt-link-abbreviated"   href="http://www.myspace.com/christianrover">www.myspace.com/christianrover</a>
<br>
<br>
</div>
</body>
</html>

--------------010005030504030705040509--

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A quick fix is to set
RecordMode= SAF
on the EDP

...and then feedback is set full when you record a loop

andy butler
ps...a very welcome life saving feature for live performance

Daniel Hegarty wrote:
> Hey all,
> 
> I'm experiencing something a little odd while controlling multiple EDPs 
> via Logic.
> 
> I'm using 4 EDPs simultaneously all factory reset. I'm not using any 
> syncing just SUS commands to keep all the loops at precisely the same 
> length.
> 
> Obviously I switch EDPs on 1st to allow them to boot and then I open the 
> Logic file that has the MIDI parts to control them all. This is when my 
> problem occurs. As soon as the file opens, a 0 appears on the displays 
> of all the EDPs, it appears that it is resetting the feedback value to 
> 0. So I then have to manually turn the feedback up and down on each unit 
> before beginning to play. It's not the end of the world but it's just 
> one more vital thing to remember!
> 
> I'm wondering if there's either a way to stop it, or to include a MIDI 
> command at the beginning of each track to reset the feedback to 127.
> 
> Any help gratefully received.
> 
> Thanks
> Daniel

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:-)
he's too busy watching youtube videos at the moment
 

David Hayes wrote:
> 
> hey. I used echoplexes for years... still have 2. And two footswitches. 
> Synching and signal routing back and fourth has never worked out for me 
> as well as I'd have liked... so Matthias... any chance we'll see 
> software plugin I can put into my Mac Live or Ableton and maybe even 
> somehow finagle my current footswitches to work with it?
> 
> 

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You're right,
it would have meant something of a redesign
to use PC,
as the edp relies on getting a note-off (or CC val 0)
when the button is released.

I never saw this quote before,
but it certainly isn't implemented.



andy

Travis Hartnett wrote:
> Did that actually get implemented?  I thought you could use CC or Note, 
> but PC was only for selecting presets?
> 
> TH
> 
> On Thu, Dec 18, 2008 at 6:49 AM, andy patterson 
> <talesfromforestgnomes@gmail.com 
> <mailto:talesfromforestgnomes@gmail.com>> wrote:
> 
>     Hey i was just wondering if anyone could fill me in on this quote by kim flint.
> 
>     "
> 
>     we caved in and
>     figured out ways to make midi program change messages control Echoplex
>     functions. It doesn't work nearly as well as note-on/offs, but at least all
> 
>     the people with Ground Controls will be able to use them.
>     "
> 
> 

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Thanks for your reaction, Kris. To each their own, eh? I personally find 
Nels' mastery of the guitar (having seen him an embarrassing number of 
times) to be nearly unmatched, in terms of command of technique and 
sound. If we're singling out articulation, yeah...I don't know any 
guitarist, or even other instrumentalist, who can match Trane there.

I personally find distortion to be one way in which a guitar can 
approach the dynamic expressiveness of a wind instrument. When Coltrane 
screams through his sax, there's nothing like it, but I think distortion 
IS screaming (and hence, I hate when people use distortion on ballads, a 
la Joe Satriani). The clean jazz tone has a rich tradition to it, but if 
you're trying to capture that same explosive, raging, screaming power 
that a saxophone can produce when really set free, I find some juice to 
be useful. Or a lot of juice :-D . But there's personal taste to be 
accounted for, and history too when we're talking about classic albums.

checking out Billy Kilson now, thanks for the ref.

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

> It is very good, but doesn't do what Interstellar Space does for me.  
> And clearly (with no disrespect to Nels, but more of a comment about 
> the sheer genius of Coltane), Nels' articulation on the guitar does 
> not match Coltrane's articulation and mastery of the sax.  Again, I 
> don't think anyone would deny that without underestimating Coltrane.
>
> I don't know much about Nels Cline, and have not listened to all of 
> his material. All of it is very good from what I have heard. I like 
> the tracks on the CD where he is playing clean, more than those where 
> he has the shreader guitar tone.  The massive distortion gets on my 
> nerves after a while.
>
> I would like to hear John Morris (guitar) and Billy Kilson (drum) 
> doing their take of Interstellar Space.  I saw Billy Kilson with Dave 
> Holland a few years ago, and was blown away. I have never seen a jazz 
> drummer play with such energy and speed.  And of course, Morris that 
> raw jazz tone that do well with a homage to Interstellar Space.
>
> Kris

From elizabeth_mathew01@yahoo.com  Thu Dec 18 16:42:24 2008
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I have a new email address!You can now email me at: elizabeth_mathew01@yahoo.com



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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>elizabeth_mathew01@yahoo.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">Dear Friend, I am the manager of bill and exchange at the foreign remittance department of BANK OF AFrica(B.O.A) here in Ouagadougou, Burkina Faso. In my department we discovered an abandoned sum of $15.2m .US dollars (Fifteen Million Two Hundred Thousand US dollars). ) in an account that belongs to one of our foreign customer (MR. ANDREAS SCHRANNER from Germany) who died along with his entire family in Jully 2000 in a plane crash.http://news.bbc.co.uk/1/hi/world/europe/859479.stmSince we got information about his death, we have been expecting his next of kin to come over and claim his money because we cannot release it unless some body applies for it as next of kin or relation to the deceased as indicated in our banking guidlings and laws but unfortunately we learntthat all his supposed next of kin or relation died alongside with him at the plane crash leavingnobody behind for the claim. It is therefore upon this discovery that I 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 subsequent disbursement since nobody is coming for it and i don't want this money to go into the bank treasury as unclaimed bill.The banking law and guidline here stipulates that if such money remained unclaimed after seven years, the money will be transfered into the bank treasury as unclaimed fund. The request of foreigner as next of kin in this business is occassioned by the fact that the customer was a foreigner and a Burkinabe cannot stand as next of kin to a foreigner.I agree that 30% of this money will be for you as a respect to the provision 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 enable the immediate transfer of this fund to you arranged,you must apply first to the bank as relation or next of kin of the deceased indicating your bank name, your bank account number, your private telephone and fax number for easy and effective communication and location where in the money will be remitted. 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 this transaction is hitch-free and that you should not entertain any atom of fear as all requiredarrangements have been made for the transfer.You should contact me immediately as soon as you receive this letter.Trusting to hear from you immediately.i am awaiting for your urgent response!!!.so if you are interrested contact me through my private email address=(elizabeth_mathew@hotmail.fr)Yours Faithfully,Mrs.Elizabeth Mathew. BANK OF AFRICA (B.O.A)TREAT AS URGENT AND CONFIDENTIAL </span></div></div>
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Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
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=A0
Not that I know every guitarist out there, but do you mean Joe Morris inste=
ad of John Morris, Kris?
=A0
Joe Morris certainly kicks ass - double threat as guitarist and bassist.

=A0
ted.
Enemies are good for self-definition. Werner Herzog

--- On Wed, 12/17/08, Krispen Hartung <info@krispenhartung.com> wrote:

From: Krispen Hartung <info@krispenhartung.com>
Subject: Re: One Guitarist, One Drummer was: Altered Tunings
To: Loopers-Delight@loopers-delight.com
Date: Wednesday, December 17, 2008, 8:26 PM

It is very good, but doesn't do what Interstellar Space does for me.  And
clearly (with no disrespect to Nels, but more of a comment about the sheer
genius of Coltane), Nels' articulation on the guitar does not match
Coltrane's articulation and mastery of the sax.  Again, I don't think
anyone would deny that without underestimating Coltrane.

I don't know much about Nels Cline, and have not listened to all of his
material. All of it is very good from what I have heard. I like the tracks =
on
the CD where he is playing clean, more than those where he has the shreader
guitar tone.  The massive distortion gets on my nerves after a while.

I would like to hear John Morris (guitar) and Billy Kilson (drum) doing the=
ir
take of Interstellar Space.  I saw Billy Kilson with Dave Holland a few yea=
rs
ago, and was blown away. I have never seen a jazz drummer play with such en=
ergy
and speed.  And of course, Morris that raw jazz tone that do well with a ho=
mage
to Interstellar Space.

Kris

----- Original Message -----=20
> I think it fully earns the title. I find it pretty incredible. I'd be
curious to hear your reaction.
>=20
> Gorgeous version of "Lonnie's Lament" on it, too, after all
the chaos.
>=20
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>=20
>> I was not aware of this CD with Nels. I will have to check it out. The
question is, does it earn the title of Interstellar Space Revisited? That a=
lbum
of Coltrane's is insurpassable, allowing only remote approximations to its
level.
>>=20
>> Kris
>>=20
>>=20
>>> Nels Cline and Gregg Bendian's "Interstellar Space
Revisited" is a superb reworking of Coltrane and Ali's masterpiece.
>=20
>=20

=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>&nbsp;</DIV>
<DIV>Not that I know every guitarist out there, but do you mean Joe Morris instead of John Morris, Kris?</DIV>
<DIV>&nbsp;</DIV>
<DIV>Joe Morris certainly kicks ass - double threat as guitarist and bassist.</DIV>
<DIV><BR>&nbsp;</DIV>
<DIV>ted.<BR>Enemies are good for self-definition. Werner Herzog<BR><BR>--- On <B>Wed, 12/17/08, Krispen Hartung <I>&lt;info@krispenhartung.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Krispen Hartung &lt;info@krispenhartung.com&gt;<BR>Subject: Re: One Guitarist, One Drummer was: Altered Tunings<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Wednesday, December 17, 2008, 8:26 PM<BR><BR><PRE>It is very good, but doesn't do what Interstellar Space does for me.  And
clearly (with no disrespect to Nels, but more of a comment about the sheer
genius of Coltane), Nels' articulation on the guitar does not match
Coltrane's articulation and mastery of the sax.  Again, I don't think
anyone would deny that without underestimating Coltrane.

I don't know much about Nels Cline, and have not listened to all of his
material. All of it is very good from what I have heard. I like the tracks on
the CD where he is playing clean, more than those where he has the shreader
guitar tone.  The massive distortion gets on my nerves after a while.

I would like to hear John Morris (guitar) and Billy Kilson (drum) doing their
take of Interstellar Space.  I saw Billy Kilson with Dave Holland a few years
ago, and was blown away. I have never seen a jazz drummer play with such energy
and speed.  And of course, Morris that raw jazz tone that do well with a homage
to Interstellar Space.

Kris

----- Original Message ----- 
&gt; I think it fully earns the title. I find it pretty incredible. I'd be
curious to hear your reaction.
&gt; 
&gt; Gorgeous version of "Lonnie's Lament" on it, too, after all
the chaos.
&gt; 
&gt; Daryl Shawn
&gt; www.swanwelder.com
&gt; www.chinapaintingmusic.com
&gt; 
&gt;&gt; I was not aware of this CD with Nels. I will have to check it out. The
question is, does it earn the title of Interstellar Space Revisited? That album
of Coltrane's is insurpassable, allowing only remote approximations to its
level.
&gt;&gt; 
&gt;&gt; Kris
&gt;&gt; 
&gt;&gt; 
&gt;&gt;&gt; Nels Cline and Gregg Bendian's "Interstellar Space
Revisited" is a superb reworking of Coltrane and Ali's masterpiece.
&gt; 
&gt; 

</PRE></BLOCKQUOTE></td></tr></table><br>

      
--0-1211215288-1229618686=:38448--

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> I would like to hear John Morris (guitar) and Billy Kilson (drum)
> doing their take of Interstellar Space.

Hey, it's christmas time - you can wish for whatever you want.

Why not John Zorn and David Lombardo? Or Mike Patton and Rahzel?

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 17:49:56 2008
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Hi Ricky,

I use either filters to help focus the sound or pitch shift the  
material. Often time pitch shifting musical material downwards sounds  
better than going up. There is something about the chipmunk effect  
that is just too comical and not pleasing. But I have found that if  
you pitch shift material up say 3 octaves or more you remove the sound  
from chipmunk territory and into some nice tinkly sounds that work  
great if you want to fill the higher frequencies.

My music is in the more experimental realm so I am not worried about  
timing and in fact love the phasing that happens between using the  
same loop at multiple pitches.

The granular syth section of Kenaxis also allows for transforming a  
captured loop into all kinds of different pitch clouds. Playing with  
the delay between the grains you can create sparser textures that have  
space in them for other things to happen.

I also have a negative crossfade option on the loopers. This adds  
space between the loops also helping create more space and avoid the  
mush.

Of course the mush can be fun too - but its nice to have options.

Stefan


On Dec 18, 2008, at 3:29 AM, Ricky Graham wrote:

> Hi Stefan,
>
> I must check out your software. If you don't mind me asking, how did  
> you manipulate loops into frequency ranges? It is something that I  
> find interesting at the moment, especially if only one member of an  
> ensemble is looping, and like you said it can lead to 'mush.' I find  
> this is a common trait when you are 'limited' by the range of your  
> instrument. As a guitar player, I find myself striving to voice  
> motifs differently before tweaking post fade to try and give each  
> loop it's own space in the mix.
>
> Cheers,
>
> Ricky
> From: Stefan Smulovitz
> To: Loopers-Delight@loopers-delight.com
> Sent: Wednesday, December 17, 2008 8:21 PM
> Subject: Re: Live Looping in an ensemble context.....what gear do u  
> use?
>
> I almost always loop with others. Although to be fair often I am  
> just controlling the loops and not playing my viola at the same time.
>
> You can hear some of my duet work with vocalist Viviane Houle at  
> these two sites.
>
> http://www.cellarlive.com/discography.php?section=Discography&page=60
>
> http://vivianehoule.ca/index.php?mpage=music
>
> As for tools - I use Kenaxis which is the software I've developed.  
> One of the main new features I added to version 3 was the ability to  
> choose from any of up to 8 inputs that I can have going into  
> Kenaxis. This allows me to decided to loop and manipulate any player  
> I want in a group once I setup enough looping mics. It is hard not  
> to get into a mush when you have more than 3 or 4 players. Done a  
> couple of large ensemble gigs with 12+ players and just had to find  
> ways of manipulating the loops into frequency ranges that most  
> normal instruments can't get to.
>
> As for evolving loops - there is so much that can be done with a  
> loop which is why I am more than happy just capturing and  
> manipulating the loops while another player creates fresh material.  
> It is great fun to see a players reaction who usually does not play  
> with loops once their material starts coming back at them.
>
> Stefan
>
> ----------------------------------------------------
> www.kenaxis.com
>
>

----------------------------------------------------
www.kenaxis.com


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Hi Ricky,<div><br></div><div>I =
use either filters to help focus the sound or pitch shift the material. =
Often time pitch shifting musical material downwards sounds better than =
going up. There is something about the chipmunk effect that is just too =
comical and not pleasing. But I have found that if you pitch shift =
material up say 3 octaves or more you remove the sound from chipmunk =
territory and into some nice tinkly sounds that work great if you want =
to fill the higher frequencies.&nbsp;</div><div><br></div><div>My music =
is in the more experimental realm so I am not worried about timing and =
in fact love the phasing that happens between using the same loop at =
multiple pitches.&nbsp;</div><div><br></div><div>The granular syth =
section of Kenaxis also allows for transforming a captured loop into all =
kinds of different pitch clouds. Playing with the delay between the =
grains you can create sparser textures that have space in them for other =
things to happen.</div><div><br></div><div>I also have a negative =
crossfade option on the loopers. This adds space between the loops also =
helping create more space and avoid the =
mush.</div><div><br></div><div>Of course the mush can be fun too - but =
its nice to have =
options.</div><div><br></div><div>Stefan</div><div><br></div><div><br><div=
><div>On Dec 18, 2008, at 3:29 AM, Ricky Graham 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 bgcolor=3D"#ffffff" =
style=3D"word-wrap: break-word; "><div><font face=3D"Arial" size=3D"2">Hi =
Stefan,</font></div><div><font face=3D"Arial" =
size=3D"2"></font>&nbsp;</div><div><font face=3D"Arial" size=3D"2">I =
must check out your software. If you don't mind me asking, how did you =
manipulate loops into frequency ranges? It is something that I find =
interesting at the moment, especially if only one member of an ensemble =
is looping, and like you said it can&nbsp;lead to&nbsp;'mush.' I find =
this is a&nbsp;common trait when you are&nbsp;'limited' by the range of =
your instrument. As a guitar player, I find myself striving to voice =
motifs differently before&nbsp;tweaking post fade to try and give each =
loop it's own space in the mix.</font></div><div><font face=3D"Arial" =
size=3D"2"></font>&nbsp;</div><div><font face=3D"Arial" =
size=3D"2">Cheers,</font></div><div><font face=3D"Arial" =
size=3D"2"></font>&nbsp;</div><div><font face=3D"Arial" =
size=3D"2">Ricky</font></div><blockquote style=3D"padding-right: 0px; =
padding-left: 5px; margin-left: 5px; border-left-color: rgb(0, 0, 0); =
border-left-width: 2px; border-left-style: solid; margin-right: 0px; =
"><div style=3D"background-image: initial; background-repeat: initial; =
background-attachment: initial; -webkit-background-clip: initial; =
-webkit-background-origin: initial; background-color: rgb(228, 228, =
228); font: normal normal normal 10pt/normal arial; background-position: =
initial initial; "><b>From:</b><span =
class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"stefan@kenaxis.com" href=3D"mailto:stefan@kenaxis.com">Stefan =
Smulovitz</a></div><div style=3D"font: normal normal normal 10pt/normal =
arial; "><b>To:</b><span class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"Loopers-Delight@loopers-delight.com" =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a></div><div style=3D"font: normal normal normal =
10pt/normal arial; "><b>Sent:</b><span =
class=3D"Apple-converted-space">&nbsp;</span>Wednesday, December 17, =
2008 8:21 PM</div><div style=3D"font: normal normal normal 10pt/normal =
arial; "><b>Subject:</b><span =
class=3D"Apple-converted-space">&nbsp;</span>Re: Live Looping in an =
ensemble context.....what gear do u use?</div><div><br></div>I almost =
always loop with others. Although to be fair often I am just controlling =
the loops and not playing my viola at the same =
time.&nbsp;<div><br></div><div>You can hear some of my duet work with =
vocalist Viviane Houle at these two sites.</div><div><br></div><div><a =
href=3D"http://www.cellarlive.com/discography.php?section=3DDiscography&am=
p;page=3D60">http://www.cellarlive.com/discography.php?section=3DDiscograp=
hy&amp;page=3D60</a></div><div><br></div><div><a =
href=3D"http://vivianehoule.ca/index.php?mpage=3Dmusic">http://vivianehoul=
e.ca/index.php?mpage=3Dmusic</a></div><div><br></div><div>As for tools - =
I use Kenaxis which is the software I've developed. One of the main new =
features I added to version 3 was the ability to choose from any of up =
to 8 inputs that I can have going into Kenaxis. This allows me to =
decided to loop and manipulate any player I want in a group once I setup =
enough looping mics. It is hard not to get into a mush when you have =
more than 3 or 4 players. Done a couple of large ensemble gigs with 12+ =
players and just had to find ways of manipulating the loops into =
frequency ranges that most normal instruments can't get =
to.&nbsp;</div><div><br></div><div>As for evolving loops - there is so =
much that can be done with a loop which is why I am more than happy just =
capturing and manipulating the loops while another player creates fresh =
material. It is great fun to see a players reaction who usually does not =
play with loops once their material starts coming back at =
them.</div><div><br></div><div>Stefan</div><div><br></div><div><div =
apple-content-edited=3D"true"><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: normal normal normal =
12px/normal Helvetica; =
">----------------------------------------------------</font></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: =
normal normal normal 12px/normal Helvetica; "><a =
href=3D"http://www.kenaxis.com">www.kenaxis.com</a></font></div></div></di=
v><br></div><div><br></div></blockquote></div></span></blockquote></div><b=
r><div apple-content-edited=3D"true"> <div><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">----------------------------------------------------</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"><a =
href=3D"http://www.kenaxis.com">www.kenaxis.com</a></font></p> </div> =
</div><br></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 18:21:18 2008
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From: Daryl Shawn <highhorse@mhorse.com>
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I'd buy that duo. or..

Bill Frisell/Joey Baron
Pat Metheny/Terry Bozzio
Mike Patton/Brann Dailor
RUINS
David Torn/Vinnie Colaiuta

ah, a boy can dream...Frank Zappa/Elvin Jones...

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

> Hey, it's christmas time - you can wish for whatever you want.
>
> Why not John Zorn and David Lombardo?

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 18:28:30 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: One Guitarist, One Drummer
Date: Thu, 18 Dec 2008 10:28:24 -0800
To: Loopers-Delight@loopers-delight.com
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Or McLaughlin and Cobham . . . as if they'd ever play together again.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")
On Dec 18, 2008, at 10:21 AM, Daryl Shawn wrote:

> I'd buy that duo. or..
>
> Bill Frisell/Joey Baron
> Pat Metheny/Terry Bozzio
> Mike Patton/Brann Dailor
> RUINS
> David Torn/Vinnie Colaiuta
>
> ah, a boy can dream...Frank Zappa/Elvin Jones...=

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 18:33:20 2008
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Subject: Re: One Guitarist, One Drummer
Date: Thu, 18 Dec 2008 18:33:12 -0000
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Woof, yes please.  I wore out two lp's of "Inner Mounting Flame" before CDs 
came out.  Post Fripp's CGT and GC works, a listen to that album also holds 
lovely bits of quiet.


> Or McLaughlin and Cobham . . . as if they'd ever play together again.
>
> Best regards,
>
> tEd ® KiLLiAn
>
> http://www.myspace.com/tedkillian
> http://www.reverbnation.com/tedkillian
> http://www.pfmentum.com/PFMCD007.html
> http://www.CDbaby.com/cd/tedkillian
> http://www.guitar9.com/fluxaeterna.html
> http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
> http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768
>
> Ted Killian's "Flux Aeterna" is also available at Apple iTunes
>
> "You can safely assume that you've created God in your own image when it 
> turns out that God hates all the same people you do."  —  Anne Lamott 
> (Traveling Mercies, although on page 22 of Bird by Bird she attributes 
> this quote to "my priest friend Tom")
> On Dec 18, 2008, at 10:21 AM, Daryl Shawn wrote:
>
>> I'd buy that duo. or..
>>
>> Bill Frisell/Joey Baron
>> Pat Metheny/Terry Bozzio
>> Mike Patton/Brann Dailor
>> RUINS
>> David Torn/Vinnie Colaiuta
>>
>> ah, a boy can dream...Frank Zappa/Elvin Jones...
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 19:03:46 2008
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Date: Thu, 18 Dec 2008 19:08:32 +0000
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Subject: Norwich Looping Video
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with Rick Walker,
Jeremy & Chris
Stephen Scott
andy butler

http://uk.youtube.com/watch?v=U169r_3nVWo

Rick brought his little camera, and then left this footage with me,
so I thought I'd edit it up into a little mini-vid.
Audio is from the mixing desk, synced up by "special techniques"
in the Butler laboratory.


Looks like it got mono-ed, which is a shame.

there'll be more "stuff" from the Norwich 2008 along soon,
including some very nice loop ensemble stuff...
even a bit more vid footage.



andy butler




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Date: Thu, 18 Dec 2008 13:32:35 -0600
Subject: RE: One Guitarist, One Drummer
Thread-Topic: One Guitarist, One Drummer
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=20
Euronymous and Meg White

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------=_Part_23195_3570051.1229628729757
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Nostalgia

myspace.com/thisisnostalgia

On Thu, Dec 18, 2008 at 10:33 AM, SP Goodman <spgoodman@earthlight.net>wrot=
e:

> Woof, yes please.  I wore out two lp's of "Inner Mounting Flame" before C=
Ds
> came out.  Post Fripp's CGT and GC works, a listen to that album also hol=
ds
> lovely bits of quiet.
>
>
>
> Or McLaughlin and Cobham . . . as if they'd ever play together again.
>>
>> Best regards,
>>
>> tEd (R) KiLLiAn
>>
>> http://www.myspace.com/tedkillian
>> http://www.reverbnation.com/tedkillian
>> http://www.pfmentum.com/PFMCD007.html
>> http://www.CDbaby.com/cd/tedkillian <http://www.cdbaby.com/cd/tedkillian=
>
>> http://www.guitar9.com/fluxaeterna.html
>> http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
>> http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768
>>
>> Ted Killian's "Flux Aeterna" is also available at Apple iTunes
>>
>> "You can safely assume that you've created God in your own image when it
>> turns out that God hates all the same people you do."  =97  Anne Lamott
>> (Traveling Mercies, although on page 22 of Bird by Bird she attributes t=
his
>> quote to "my priest friend Tom")
>> On Dec 18, 2008, at 10:21 AM, Daryl Shawn wrote:
>>
>> I'd buy that duo. or..
>>>
>>> Bill Frisell/Joey Baron
>>> Pat Metheny/Terry Bozzio
>>> Mike Patton/Brann Dailor
>>> RUINS
>>> David Torn/Vinnie Colaiuta
>>>
>>> ah, a boy can dream...Frank Zappa/Elvin Jones...
>>>
>>
>>
>>
>>
>>
>>
>

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<div>Nostalgia</div>
<div>&nbsp;</div>
<div><a href=3D"http://myspace.com/thisisnostalgia">myspace.com/thisisnosta=
lgia</a><br><br></div>
<div class=3D"gmail_quote">On Thu, Dec 18, 2008 at 10:33 AM, SP Goodman <sp=
an dir=3D"ltr">&lt;<a href=3D"mailto:spgoodman@earthlight.net">spgoodman@ea=
rthlight.net</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0=
px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Woof, yes please. &nbsp;I wore o=
ut two lp&#39;s of &quot;Inner Mounting Flame&quot; before CDs came out. &n=
bsp;Post Fripp&#39;s CGT and GC works, a listen to that album also holds lo=
vely bits of quiet.=20
<div>
<div></div>
<div class=3D"Wj3C7c"><br><br><br>
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0=
px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">Or McLaughlin and Cobham . . . a=
s if they&#39;d ever play together again.<br><br>Best regards,<br><br>tEd &=
reg; KiLLiAn<br>
<br><a href=3D"http://www.myspace.com/tedkillian" target=3D"_blank">http://=
www.myspace.com/tedkillian</a><br><a href=3D"http://www.reverbnation.com/te=
dkillian" target=3D"_blank">http://www.reverbnation.com/tedkillian</a><br><=
a href=3D"http://www.pfmentum.com/PFMCD007.html" target=3D"_blank">http://w=
ww.pfmentum.com/PFMCD007.html</a><br>
<a href=3D"http://www.cdbaby.com/cd/tedkillian" target=3D"_blank">http://ww=
w.CDbaby.com/cd/tedkillian</a><br><a href=3D"http://www.guitar9.com/fluxaet=
erna.html" target=3D"_blank">http://www.guitar9.com/fluxaeterna.html</a><br=
><a href=3D"http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D19=
3" target=3D"_blank">http://www.indiejazz.com/ProductDetailsView.aspx?Produ=
ctID=3D193</a><br>
<a href=3D"http://guitarplayer.com/article/y2k6-international-live/Jun-07/2=
7768" target=3D"_blank">http://guitarplayer.com/article/y2k6-international-=
live/Jun-07/27768</a><br><br>Ted Killian&#39;s &quot;Flux Aeterna&quot; is =
also available at Apple iTunes<br>
<br>&quot;You can safely assume that you&#39;ve created God in your own ima=
ge when it turns out that God hates all the same people you do.&quot; &nbsp=
;=97 &nbsp;Anne Lamott (Traveling Mercies, although on page 22 of Bird by B=
ird she attributes this quote to &quot;my priest friend Tom&quot;)<br>
On Dec 18, 2008, at 10:21 AM, Daryl Shawn wrote:<br><br>
<blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0=
px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">I&#39;d buy that duo. or..<br><b=
r>Bill Frisell/Joey Baron<br>Pat Metheny/Terry Bozzio<br>Mike Patton/Brann =
Dailor<br>
RUINS<br>David Torn/Vinnie Colaiuta<br><br>ah, a boy can dream...Frank Zapp=
a/Elvin Jones...<br></blockquote><br><br><br><br><br></blockquote><br></div=
></div></blockquote></div><br>

------=_Part_23195_3570051.1229628729757--

From carngu3@msn.com  Thu Dec 18 20:10:23 2008
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Dearest  oneAfter going through your profile =2C I decided to contact you f=
or bussines assistance beliving that one has to risk something to gain what=
 he want.   I am  Miss Carole Nguessan twenty one years old=2C I  am a citi=
zen of Cote D'ivoire in West Africa=2C Am the only daughter of late Mr Robe=
rt Nguessan =2Cwho was poisoned on one of there dinner by my uncle with a g=
ang up of my fathers bussiness associates before his death he was the Direc=
tor of Cocoa & Gold Dealers in Abidjan capital of Cote D'Ivorie and Accra G=
hana respectively.   Therefore i write to solicit your noble assistance for=
 the Retrieving of  ten Million five hundred thousand United States Dollars=
 (USD 10.5m)to your country under your guardianship. Before the death of my=
 late father he called me confidentially and informed me of his life saving=
s of ten Million five hundred thousand United States Dollars (USD10.5m)whic=
h he deposited with one of a Security Company here in Abidjan. Pending the =
guarantee of your faithfulness and co-operation=2C he further advised me to=
 search for a reliable partner overseas who will assist me in retrieving th=
is money out from here to his country where i will relocate and start a sch=
ool in case he did not survive in the hospital .But unfortunately he couldn=
't make it. I am soliciting your kind assistance in the following ways :To =
stand as my new appointed beneficaiary and retrieve this deposit.To help me=
 seek for a good business to invest the money into.To help me search for a =
better school where i will continue my education. On hearing from you i wil=
l give you the contact of the security company so that you contact them and=
 will also issue them a latter of aurthorization for them to fully comply w=
ith you as my gauidian.Meanwhile you will be compensatewith 20% out of the =
total amount of the money for your noble assistance.More detail will be giv=
ing to you in your next mail.   Please help me to accord this transaction w=
ith the due confidentiality it demands. I appreciate it if you will respond=
 to me as soon as possible. May God Bless You while expecting your immediat=
e response.Kind regards=2C Miss Carole Nguessan.=

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<body class=3D'hmmessage'>
Dearest&nbsp=3B one<BR>After going through your profile =2C I decided to co=
ntact you for bussines assistance beliving that one has to risk something t=
o gain what he want.<BR>&nbsp=3B&nbsp=3B <BR>I am&nbsp=3B Miss Carole Ngues=
san twenty one years old=2C I&nbsp=3B am a citizen of Cote D'ivoire in <SPA=
N class=3Dyshortcuts id=3Dlw_1229629388_0 style=3D"BACKGROUND: none transpa=
rent scroll repeat 0% 0%=3B CURSOR: hand=3B BORDER-BOTTOM: medium none">Wes=
t Africa</SPAN>=2C Am the only daughter of late Mr Robert Nguessan =2Cwho w=
as poisoned on one of there dinner by my uncle with a gang up of my fathers=
 bussiness associates before his death he was the Director of Cocoa &amp=3B=
 Gold Dealers in <SPAN class=3Dyshortcuts id=3Dlw_1229629388_1 style=3D"BAC=
KGROUND: none transparent scroll repeat 0% 0%=3B CURSOR: hand=3B BORDER-BOT=
TOM: #0066cc 1px dashed">Abidjan</SPAN> capital of Cote D'Ivorie and Accra =
Ghana respectively.<BR>&nbsp=3B&nbsp=3B <BR>Therefore i write to solicit yo=
ur noble assistance for the Retrieving of&nbsp=3B ten Million five hundred =
thousand <SPAN class=3Dyshortcuts id=3Dlw_1229629388_2>United States Dollar=
s</SPAN> (USD 10.5m)to your country under your guardianship. Before the dea=
th of my late father he called me confidentially and informed me of his lif=
e savings of ten Million five hundred thousand United States Dollars (USD10=
.5m)which he deposited with one of a Security Company here in Abidjan. Pend=
ing the guarantee of your faithfulness and co-operation=2C he further advis=
ed me to search for a reliable partner overseas who will assist me in retri=
eving this money out from here to his country where i will relocate and sta=
rt a school in case he did not survive in the hospital .But unfortunately h=
e couldn't make it.<BR>&nbsp=3B<BR>I am soliciting your kind assistance in =
the following ways :<BR>To stand as my new appointed beneficaiary and retri=
eve this deposit.<BR>To help me seek for a good business to invest the mone=
y into.<BR>To help me search for a better school where i will continue my e=
ducation.<BR>&nbsp=3B<BR>On hearing from you i will give you the contact of=
 the security company so that you contact them and will also issue them a l=
atter of aurthorization for them to fully comply with you as my gauidian.Me=
anwhile you will be compensate<BR>with 20% out of the total amount of the m=
oney for your noble assistance.More detail will be giving to you in your ne=
xt mail.<BR>&nbsp=3B&nbsp=3B <BR>Please help me to accord this transaction =
with the due confidentiality it demands. I appreciate it if you will respon=
d to me as soon as possible.<BR>&nbsp=3B<BR>May God Bless You while expecti=
ng your immediate response.<BR>Kind regards=2C <BR>Miss Carole Nguessan.<BR=
><RTE_TEXT></RTE_TEXT></body>
</html>=

--_b97ae910-8219-47b2-ba5f-a1b428190e0b_--

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To: Loopers-Delight@loopers-delight.com
Subject: A Time To Relax
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For all those in need of some time to relax
in the busiest time of the year here's an offer 
of some relaxed looping for your lunch break
or evening chill (depending on where you're located).

Christian Rover's new CD with lots of looping
will be featured on MDR Figaro Radio on

Friday, December 19th,2008
1:35pm to 2pm Eastern Standard Time in the US
or 7:35 pm to 8 pm (MEZ) in Europe

Tune in on your terrestrial radio
or anywhere in the world
on the internet at

http://www.mdr.de/mdr-figaro/524774.html

Enjoy & Seasons Greetings !

----

Die neue Christian Röver CD am 19.12.
von 19:35-20:00 Uhr auf MDR Figaro.
Im Sendegebiet des MDR, über Satellit oder
weltweit als Stream auf

http://www.mdr.de/mdr-figaro/524774.html

Viel Spass und eine entspannte Vorweihnacht !

www.myspace.com/christianrover

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In a message dated 12/18/08 2:04:07 PM, akbutler@tiscali.co.uk writes:


> http://uk.youtube.com/watch?v=U169r_3nVWo
> 

andy.....no shoes, no sox?.....the music sounded like you had nude 
feet!......yikes!.....what color did you paint your toes?.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025)

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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 12/18/08 2:04:07 PM, akbutler@tiscali.co.uk 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">http://uk.youtube.com=
/watch?v=3DU169r_3nVWo<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">andy.....no shoes, no sox?.....the music sounded like you had nude feet!.=
.....yikes!.....what color did you paint your toes?.....:)m<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all=20=
your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (http://www.aol.com=
/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)<=
/HTML>

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Date: Fri, 19 Dec 2008 00:13:27 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: CD pricing
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A quick question for those among you who sell CDs in a way that you
have direct control of the end price to the customer:

What do you usually charge for a CD (physical medium, not downloads),
a) when sold at your concerts,
b) other means of distribution (e.g. mail order).

Thanks,

              Rainer

From Loopers-Delight-request@loopers-delight.com  Thu Dec 18 23:15:05 2008
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Date: Thu, 18 Dec 2008 16:15:00 -0700
From: "Trevor Davis" <bonesdrums@gmail.com>
To: Loopers-Delight@loopers-delight.com
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My CDs are $15.00 ither way

On Thu, Dec 18, 2008 at 4:13 PM, Rainer Straschill <moinsound@googlemail.com
> wrote:

> A quick question for those among you who sell CDs in a way that you
> have direct control of the end price to the customer:
>
> What do you usually charge for a CD (physical medium, not downloads),
> a) when sold at your concerts,
> b) other means of distribution (e.g. mail order).
>
> Thanks,
>
>              Rainer
>
>


-- 
Trevor Davis
Bare Bones Productions
www.bonesdrums.com
1239 D Street
Salida, CO
81201
719 207 3422
866 622 4269

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My CDs are $15.00 ither way<br><br>
<div class="gmail_quote">On Thu, Dec 18, 2008 at 4:13 PM, Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com">moinsound@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote style="BORDER-LEFT: #ccc 1px solid; MARGIN: 0px 0px 0px 0.8ex; PADDING-LEFT: 1ex" class="gmail_quote">A quick question for those among you who sell CDs in a way that you<br>have direct control of the end price to the customer:<br>
<br>What do you usually charge for a CD (physical medium, not downloads),<br>a) when sold at your concerts,<br>b) other means of distribution (e.g. mail order).<br><br>Thanks,<br><font color="#888888"><br>&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rainer<br>
<br></font></blockquote></div><br><br clear="all"><br>-- <br>Trevor Davis<br>Bare Bones Productions<br><a href="http://www.bonesdrums.com">www.bonesdrums.com</a><br>1239 D Street<br>Salida, CO <br>81201<br>719 207 3422<br>
866 622 4269<br>

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From: "Travis Hartnett" <travishartnett@gmail.com>
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$5 at shows, $5+shipping otherwise.
TH

On Thu, Dec 18, 2008 at 3:13 PM, Rainer Straschill <moinsound@googlemail.com
> wrote:

> A quick question for those among you who sell CDs in a way that you
> have direct control of the end price to the customer:
>
> What do you usually charge for a CD (physical medium, not downloads),
> a) when sold at your concerts,
> b) other means of distribution (e.g. mail order).
>
> Thanks,
>
>              Rainer
>
>

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$5 at shows, $5+shipping otherwise.<div><br></div><div>TH<br><br><div class="gmail_quote">On Thu, Dec 18, 2008 at 3:13 PM, Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com">moinsound@googlemail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">A quick question for those among you who sell CDs in a way that you<br>
have direct control of the end price to the customer:<br>
<br>
What do you usually charge for a CD (physical medium, not downloads),<br>
a) when sold at your concerts,<br>
b) other means of distribution (e.g. mail order).<br>
<br>
Thanks,<br>
<font color="#888888"><br>
 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rainer<br>
<br>
</font></blockquote></div><br></div>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 00:38:57 2008
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Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
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Heh heh...yes. Sorry. John Morris is someone I work with. That was a =
habit based typo. :)  I meant Joe.  Damn, good catch!  No one else got =
that?

Kris
  ----- Original Message -----=20



        Not that I know every guitarist out there, but do you mean Joe =
Morris instead of John Morris, Kris?

        Joe Morris certainly kicks ass - double threat as guitarist and =
bassist.

        =20
        It is very good, but doesn't do what Interstellar Space does for =
me.  And
        clearly (with no disrespect to Nels, but more of a comment about =
the sheer
        genius of Coltane), Nels' articulation on the guitar does not =
match
        Coltrane's articulation and mastery of the sax.  Again, I don't =
think
        anyone would deny that without underestimating Coltrane.

        I don't know much about Nels Cline, and have not listened to all =
of his
        material. All of it is very good from what I have heard. I like =
the tracks on
        the CD where he is playing clean, more than those where he has =
the shreader
        guitar tone.  The massive distortion gets on my nerves after a =
while.

        I would like to hear John Morris (guitar) and Billy Kilson =
(drum) doing their
        take of Interstellar Space.  I saw Billy Kilson with Dave =
Holland a few years
        ago, and was blown away. I have never seen a jazz drummer play =
with such energy
        and speed.  And of course, Morris that raw jazz tone that do =
well with a homage
        to Interstellar Space.

        Kris

        ----- Original Message -----=20
        > I think it fully earns the title. I find it pretty incredible. =
I'd be
        curious to hear your reaction.
        >=20
        > Gorgeous version of "Lonnie's Lament" on it, too, after all
        the chaos.
        >=20
        > Daryl Shawn
        > www.swanwelder.com
        > www.chinapaintingmusic.com
        >=20
        >> I was not aware of this CD with Nels. I will have to check it =
out. The
        question is, does it earn the title of Interstellar Space =
Revisited? That album
        of Coltrane's is insurpassable, allowing only remote =
approximations to its
        level.
        >>=20
        >> Kris
        >>=20
        >>=20
        >>> Nels Cline and Gregg Bendian's "Interstellar Space
        Revisited" is a superb reworking of Coltrane and Ali's =
masterpiece.
        >=20
        >=20

      =20


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<META content=3D"MSHTML 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Heh heh...yes. Sorry. John Morris is =
someone I work=20
with. That was a habit based typo. :)&nbsp; I meant Joe.&nbsp; Damn, =
good=20
catch!&nbsp; No one else got that?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</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"><BR>&nbsp;</DIV>
  <TABLE cellSpacing=3D0 cellPadding=3D0 border=3D0>
    <TBODY>
    <TR>
      <TD vAlign=3Dtop>
        <DIV>&nbsp;</DIV>
        <DIV>Not that I know every guitarist out there, but do you mean =
Joe=20
        Morris instead of John Morris, Kris?</DIV>
        <DIV>&nbsp;</DIV>
        <DIV>Joe Morris certainly kicks ass - double threat as guitarist =
and=20
        bassist.</DIV>
        <DIV><BR>&nbsp;</DIV>
        <DIV>It is very good, but doesn't do what Interstellar Space =
does for=20
        me.&nbsp; And<BR>clearly (with no disrespect to Nels, but more =
of a=20
        comment about the sheer<BR>genius of Coltane), Nels' =
articulation on the=20
        guitar does not match<BR>Coltrane's articulation and mastery of =
the=20
        sax.&nbsp; Again, I don't think<BR>anyone would deny that =
without=20
        underestimating Coltrane.<BR><BR>I don't know much about Nels =
Cline, and=20
        have not listened to all of his<BR>material. All of it is very =
good from=20
        what I have heard. I like the tracks on<BR>the CD where he is =
playing=20
        clean, more than those where he has the shreader<BR>guitar =
tone.&nbsp;=20
        The massive distortion gets on my nerves after a while.<BR><BR>I =
would=20
        like to hear John Morris (guitar) and Billy Kilson (drum) doing=20
        their<BR>take of Interstellar Space.&nbsp; I saw Billy Kilson =
with Dave=20
        Holland a few years<BR>ago, and was blown away. I have never =
seen a jazz=20
        drummer play with such energy<BR>and speed.&nbsp; And of course, =
Morris=20
        that raw jazz tone that do well with a homage<BR>to Interstellar =

        Space.<BR><BR>Kris<BR><BR>----- Original Message ----- <BR>&gt; =
I think=20
        it fully earns the title. I find it pretty incredible. I'd =
be<BR>curious=20
        to hear your reaction.<BR>&gt; <BR>&gt; Gorgeous version of =
"Lonnie's=20
        Lament" on it, too, after all<BR>the chaos.<BR>&gt; <BR>&gt; =
Daryl=20
        Shawn<BR>&gt; www.swanwelder.com<BR>&gt;=20
        www.chinapaintingmusic.com<BR>&gt; <BR>&gt;&gt; I was not aware =
of this=20
        CD with Nels. I will have to check it out. The<BR>question is, =
does it=20
        earn the title of Interstellar Space Revisited? That album<BR>of =

        Coltrane's is insurpassable, allowing only remote approximations =
to=20
        its<BR>level.<BR>&gt;&gt; <BR>&gt;&gt; Kris<BR>&gt;&gt; =
<BR>&gt;&gt;=20
        <BR>&gt;&gt;&gt; Nels Cline and Gregg Bendian's "Interstellar=20
        Space<BR>Revisited" is a superb reworking of Coltrane and Ali's=20
        masterpiece.<BR>&gt; <BR>&gt;=20
<BR><BR></DIV></TD></TR></TBODY></TABLE><BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_007B_01C96137.3F34A4C0--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 01:01:28 2008
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Date: Thu, 18 Dec 2008 17:01:25 -0800
From: "Matt Davignon" <mattdavignon@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: CD pricing
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For physical cd's, I do:

$10 at a show, $12 by mail or retail. (Since retail takes a cut, I usually
only make $9 on in-store sales, and that's where I sell the least.)


> Rainer Straschill <moinsound@googlemail.com> was like:
>
>> A quick question for those among you who sell CDs in a way that you
>> have direct control of the end price to the customer:
>>
>> What do you usually charge for a CD (physical medium, not downloads),
>> a) when sold at your concerts,
>> b) other means of distribution (e.g. mail order).
>>
>

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<div class="gmail_quote"><div>For physical cd&#39;s, I do: <br><br>$10 at a show, $12 by mail or retail. (Since retail takes a cut, I usually only make $9 on in-store sales, and that&#39;s where I sell the least.)<br>&nbsp;</div>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div>Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com" target="_blank">moinsound@googlemail.com</a>&gt;</span> was like:<br>

<div class="gmail_quote"><div><div></div><div class="Wj3C7c"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">A quick question for those among you who sell CDs in a way that you<br>

have direct control of the end price to the customer:<br>
<br>
What do you usually charge for a CD (physical medium, not downloads),<br>
a) when sold at your concerts,<br>
b) other means of distribution (e.g. mail order).<br>
</blockquote></div></div></div></div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 04:17:10 2008
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Subject: RC-20XL Live vs. other loopers
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Hi All,

I am new to looping and the list and have been experimenting with the RC-20XL. I have been able to set up two phrases, and using two keyboard pedals with a male stereo 1/4" to two female mono 1/4" cable (via RCA), I have successfully been able to move between the two phrases. My problem is that if I overdub on the first phrase and then go to the second phrase, I lose my overdubs when I go back to the first phrase. As soon as I press "Write" to save the first phrase before going onto the second, the phrase stops! I want to be able to set up both loop phrases live and move between them and possibly a third phrase. Is there a workaround to write on the fly using the RC-20XL to be able to record overdubs live and move between phrases?

Another aggravating thing is being unable to use the increment or decrement to go to an empty phrase and begin setting up a new loop from scratch. I have resigned myself to using prerecorded base loop for the second phrase, but ideally, I would create both loop phrases (or all three) live.

Are there other units that can write on the fly, move back and forth between phrases and set up phrases from scratch live mostly using foot pedals? I am comfortable using MIDI sequencing and digital audio software. What about RAM-based looping software solutions with foot pedals, are they worth exploring for this kind of thing? How about legacy gear like the Electronix Repeater or the newer Line 6 JM4? 

I am hoping that the collective knowledge of the list will be able to provide some insight. Any help would be greatly appreciated.

Thanks!

Karl

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 05:27:43 2008
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From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: Re: RC-20XL Live vs. other loopers
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Hey Karl,
=A0=A0=A0=A0 I have a Boss RC-50 and love it.=A0=A0=A0 I am not sure if it =
can do exactly what you are asking but you should go to their site and down=
load the manual and look at it; it=A0IS a serious piece of looping=A0equipm=
ent, even if I have not taken the time to be able to utilize everything it =
is capable of doing.=A0 I like it far more than many on this site do.=A03 s=
tereo tracks of looping and 99 (at least in theory) of user phrases sold me=
!!!
=A0
=A0
peace
=A0
marc=A0
=A0=A0=A0=20

--- On Thu, 12/18/08, karlbarton@comcast.net <karlbarton@comcast.net> wrote=
:


From: karlbarton@comcast.net <karlbarton@comcast.net>
Subject: RC-20XL Live vs. other loopers
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 18, 2008, 11:09 PM


Hi All,

I am new to looping and the list and have been experimenting with the RC-20=
XL. I have been able to set up two phrases, and using two keyboard pedals w=
ith a male stereo 1/4" to two female mono 1/4" cable (via RCA), I have succ=
essfully been able to move between the two phrases. My problem is that if I=
 overdub on the first phrase and then go to the second phrase, I lose my ov=
erdubs when I go back to the first phrase. As soon as I press "Write" to sa=
ve the first phrase before going onto the second, the phrase stops! I want =
to be able to set up both loop phrases live and move between them and possi=
bly a third phrase. Is there a workaround to write on the fly using the RC-=
20XL to be able to record overdubs live and move between phrases?

Another aggravating thing is being unable to use the increment or decrement=
 to go to an empty phrase and begin setting up a new loop from scratch. I h=
ave resigned myself to using prerecorded base loop for the second phrase, b=
ut ideally, I would create both loop phrases (or all three) live.

Are there other units that can write on the fly, move back and forth betwee=
n phrases and set up phrases from scratch live mostly using foot pedals? I =
am comfortable using MIDI sequencing and digital audio software. What about=
 RAM-based looping software solutions with foot pedals, are they worth expl=
oring for this kind of thing? How about legacy gear like the Electronix Rep=
eater or the newer Line 6 JM4?=20

I am hoping that the collective knowledge of the list will be able to provi=
de some insight. Any help would be greatly appreciated.

Thanks!

Karl

=0A=0A=0A      
--0-908815100-1229664063=:86532
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV>Hey Karl,</DIV>
<DIV>&nbsp;&nbsp;&nbsp;&nbsp; I have a Boss RC-50 and love it.&nbsp;&nbsp;&nbsp; I am not sure if it can do exactly what you are asking but you should go to their site and download the manual and look at it; it&nbsp;IS a serious piece of looping&nbsp;equipment, even if I have not taken the time to be able to utilize everything it is capable of doing.&nbsp; I like it far more than many on this site do.&nbsp;3 stereo tracks of looping and 99 (at least in theory) of user phrases sold me!!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>peace</DIV>
<DIV>&nbsp;</DIV>
<DIV>marc&nbsp;</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Thu, 12/18/08, karlbarton@comcast.net <I>&lt;karlbarton@comcast.net&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid"><BR>From: karlbarton@comcast.net &lt;karlbarton@comcast.net&gt;<BR>Subject: RC-20XL Live vs. other loopers<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 18, 2008, 11:09 PM<BR><BR>
<DIV class=plainMail>Hi All,<BR><BR>I am new to looping and the list and have been experimenting with the RC-20XL. I have been able to set up two phrases, and using two keyboard pedals with a male stereo 1/4" to two female mono 1/4" cable (via RCA), I have successfully been able to move between the two phrases. My problem is that if I overdub on the first phrase and then go to the second phrase, I lose my overdubs when I go back to the first phrase. As soon as I press "Write" to save the first phrase before going onto the second, the phrase stops! I want to be able to set up both loop phrases live and move between them and possibly a third phrase. Is there a workaround to write on the fly using the RC-20XL to be able to record overdubs live and move between phrases?<BR><BR>Another aggravating thing is being unable to use the increment or decrement to go to an empty phrase and begin setting up a new loop from scratch. I have resigned myself to using
 prerecorded base loop for the second phrase, but ideally, I would create both loop phrases (or all three) live.<BR><BR>Are there other units that can write on the fly, move back and forth between phrases and set up phrases from scratch live mostly using foot pedals? I am comfortable using MIDI sequencing and digital audio software. What about RAM-based looping software solutions with foot pedals, are they worth exploring for this kind of thing? How about legacy gear like the Electronix Repeater or the newer Line 6 JM4? <BR><BR>I am hoping that the collective knowledge of the list will be able to provide some insight. Any help would be greatly appreciated.<BR><BR>Thanks!<BR><BR>Karl<BR><BR></DIV></BLOCKQUOTE></td></tr></table><br>

      
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... how the hell i'm going to go and practise the guitar if  video
watching is my favourite sport on weekends?

thaaaanx, andy!
ra=FCl.

2008/12/18, andy butler <akbutler@tiscali.co.uk>:
> with Rick Walker,
>  Jeremy & Chris
>  Stephen Scott
>  andy butler
>
>  http://uk.youtube.com/watch?v=3DU169r_3nVWo
>
>  Rick brought his little camera, and then left this footage with me,
>  so I thought I'd edit it up into a little mini-vid.
>  Audio is from the mixing desk, synced up by "special techniques"
>  in the Butler laboratory.
>
>
>  Looks like it got mono-ed, which is a shame.
>
>  there'll be more "stuff" from the Norwich 2008 along soon,
>  including some very nice loop ensemble stuff...
>  even a bit more vid footage.
>
>
>
>  andy butler
>
>
>
>
>


--=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
TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 07:05:23 2008
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   one drummer
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Stephen Goodman wrote:
"Woof, yes please.  I wore out two lp's of "Inner Mounting Flame" before 
CDs came out. 
Post Fripp's CGT and GC works, a listen to that album also holds lovely 
bits of quiet."


A friend of mine in college (right as I was just becoming intrigued by 
jazz but new nothing about it
except what our father played---Bruebeck, some Miles, Big Band)
recommended that we go early to an Emerson, Lake and Palmer concert at 
Winterland which we had
tickets for because there was this famous British Jazz guitarist,   John 
MCGlafflin (how he pronounced it)
who had played with Miles on "In a Silent Way".

Dutifully I convinced my brother to go early enough to watch this 
opening act, called
The Mahavishnu Orchestra.

They came out and Cobham opened the show with the fastest drum roll I'd 
ever heard in my life
as McLaughlin ripped into Inner Mounting Flame on his double necked 
gibson 6/12 string electric.

One of the most amazing shows of my life and when we ran to the record 
store to buy it the next week
we found out that it had not even been released yet.

We had to wait two weeks and I, too, have worn out two vinyl copies of 
that beautiful  and completely
life changing record for me.

We were jazz fusion fanatics from that point on until the juice ran out 
of the scene and
the whole KOOL jazz thing coopted it all.

Yeah,  great fucking record.

If you are young on this list and haven't heard that record, or it's 
follow up ,  "Birds of Fire"
do yourself a favor and listen to some absolutely blistering and 
passionate music.

It was when fusion was brand new and everyone was taking huge chances.
It has the rawness of punk rock and it's palpable to this day (whereas a 
lot of later fusion
classics have lost a lot of their charm).

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 08:51:30 2008
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Subject: Re: CD pricing
Date: Fri, 19 Dec 2008 09:51:27 +0100
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Hi Rainer,

Lot of new CD's  are dropping fast in price, soon as the are older than 1/2 
year.
So we made our price not so high: 10 Euro

And we charge shipping costs 2,50 Euro (stamps-packaging)

Simon
www.projekt67.com

--------------------------------------------------
From: "Rainer Straschill" <moinsound@googlemail.com>
Sent: Friday, December 19, 2008 12:13 AM
To: <loopers-delight@loopers-delight.com>
Subject: CD pricing

> A quick question for those among you who sell CDs in a way that you
> have direct control of the end price to the customer:
>
> What do you usually charge for a CD (physical medium, not downloads),
> a) when sold at your concerts,
> b) other means of distribution (e.g. mail order).
>
> Thanks,
>
>              Rainer
> 

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 09:57:08 2008
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friends i charge the rounded sum i pay for it myself, depending on the 
label thats 5 or 10 euro.
in concerts i sell for 15 euro.i found out that to most people who 
actually buy a cd the price is not really an issue.
meaning: even if i sell them for ten, the same amount of people are 
gonna buy them.

tilmann

projektGmail schrieb:
> Hi Rainer,
>
> Lot of new CD's  are dropping fast in price, soon as the are older 
> than 1/2 year.
> So we made our price not so high: 10 Euro
>
> And we charge shipping costs 2,50 Euro (stamps-packaging)
>
> Simon
> www.projekt67.com
>
> --------------------------------------------------
> From: "Rainer Straschill" <moinsound@googlemail.com>
> Sent: Friday, December 19, 2008 12:13 AM
> To: <loopers-delight@loopers-delight.com>
> Subject: CD pricing
>
>> A quick question for those among you who sell CDs in a way that you
>> have direct control of the end price to the customer:
>>
>> What do you usually charge for a CD (physical medium, not downloads),
>> a) when sold at your concerts,
>> b) other means of distribution (e.g. mail order).
>>
>> Thanks,
>>
>>              Rainer
>>
>
>

From asiyah_m1@yahoo.com  Fri Dec 19 11:32:15 2008
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Date: Fri, 19 Dec 2008 03:25:25 -0800 (PST)
From: Asiyah Ahmed <asiyah_m1@yahoo.com>
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Subject: From Mrs Asiyah Ahmed 
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I have a new email address!You can now email me at: asiyah_m1@yahoo.com



- From Mrs Asiyah Ahmed Hassanal Bolkiah Royal Family Of King Haji Omar Ali Sadul Khairiof Brunei Darussalam. GOOD DAY,My dear, Please read very carefully, It is with tears that I am writing this message to you from a hospital bed far away from my home where I have no mother,father, sister , brother or any relative, in the mist of strangers with a diffrent language that I don't understand, imaging how painful it is being a cancer patient, Firstly let me introduce myself to you. I am Mrs. Asiyah Ahmed Hassanal Bolkiah, a widow to Late Sheik Ahmed Hassanal Bolkiah of Brunei Darussalam, I am 45years old and I have a son of 16years of age who is at the moment in Benin Republic and I am suffering from cancer of the lungs which I will soon undergo the operation, I want to also let you know that I am writing you this mail from a private hospital here where I am taking my part-time treatments, what will you do if your doctor come up and tell you that you have only few weeks to live? You can imagine the kind of pains I am going through. My husband is the first Son to the last wife of King Haji Omar Ali Saifuddien Sadul Khairi Waddien, the former Prime minister of Brunei Darussalam, the tiny oil-rich country on the Island in South-Eastern Asia, let me save your time by not amplifying my extended royal family history which has already been disseminated by the international media during the controversial dispute that erupted between my Husband and his step-brother, the sultan of Brunei H.M.Sultan Haji Hassanal Bolkiah who is the present King/prime minister of Brunei. As you may know from the international media, the sultan of Brunei accused my husband who is his step-brother for financial mismanagement and impropriety of US$14.8 billion dollars and this was as a result of the Asian Financial crisis that made my husband's company Amedeo Development Company that was inherited by my husband and government owned Brunei investment company to be declared bankrupt during his tenure in the office.. However my my husband was kept under house arrest by his own step brother, our bank accounts and private properties including a crude oil export refinery were later confiscated by the sultan and to worsen the whole thing, he has to assassinate my beloved husband and I was placed under house arrest by the sultan so that I will not tell the international community what has happened and that is where I developed this cancer of the lungs which is killing me now but I still believe that it is the will of God that life treat me this way. To avoid further prosecution and sufferings from the sultan and his security operatives since I have lost my husband and I have my only child to keep me happy, I decided to leave my country Brunei to Benin Republic in West Africa where my husband has deposited the sum of ( US$15 Million Dollars) in a reputable bank but unfortunately for me this my illness has became worst and I have been placed at the hospital for medical attention here, so I am planing to fly to abroad for good medication and a perfect surgical operation because according to what my doctor told me that I may not live for more than a month without this operation, I am so scared about this because she has made me understand that I have only 20% chance to survive this surgery and for that reason, I want to make a future for my only son before undergoing this surgery so that even if I die on the process of this surgery, my son will be taken care of by you. The reason why I am contacting you is to know if you can arrange for a better hospital over there so that I can come there for a better surgery and aslo to know if you can take care of my son when I will been undergoing this surgery, I have decided to give you this sum of (US$ 15 Million) that I inherited from my late husband so that you can invest it in a very lucrative business in your country, we never can tell what will happen during the surgery, so that in case if anything happen to me during this operation, my son will have someone to take care of him and abusiness/funds to inherit for a good future or if this surgery gos well, I will have a business that I can use to take care of my only son. Please note that this fund is lying with a reputable Bank here in Benin Republic of West Africa and as I am writing this message to you from a hospital Bed, I am not sure that I will survive this operation but even if I have to die, first I want to secure a future form only son. You may ask yourself why am I saying all this but I believe you never experience this kind of problem either have you meet anyone in this kind of situation, have you ever use a lap-top in the hospital to write a letter to a stranger for help? From a foreign land where you have no father, mother or anyone who can help you? In the mist of people that speak entirely different language? When all the people you trust become the people after your life? Well, you may not understand but I want you to take this more serious and urgently important. All I WANT FROM YOU IS TO TAKE THE MONEY WITH MY SON AND INVEST IT SO THAT YOU CAN TAKE CARE OF MY SON IF I DID NOT SURVIVE THIS. Please get back to me very fast so that I can tell you what to do because my days now is being numberred. May the peace of God be with you? Mrs. Asiyah Ahmed Hassanal Bolkiah Please, know it that this is my true story and I will like you to respond.HERE IS MY PRIVATE EMIL CONTACT; asiyah_m1@centrum.cz ; Yours, Mrs. Asiyah Ahmed


--0-434129616-1229685925=:58587
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<div style="border: solid 1px #cccccc; width:448px; background-color:white; margin:10px 0px;";><table border=0 cellspacing=0 cellpadding=0 width="448"><tr><td class=tablot background="http://us.i1.yimg.com/us.yimg.com/i/us/pim/gr/gr_announce_1.gif" valign=center height=57><big style="padding:10px;">I have a new email address!</big></td></tr></table><div style="padding:10px;">You can now email me at: <b>asiyah_m1@yahoo.com</b><br><br><span style="color:green;"></span><br><br>- <span style="color:green;">From Mrs Asiyah Ahmed Hassanal Bolkiah Royal Family Of King Haji Omar Ali Sadul Khairiof Brunei Darussalam. GOOD DAY,My dear, Please read very carefully, It is with tears that I am writing this message to you from a hospital bed far away from my home where I have no mother,father, sister , brother or any relative, in the mist of strangers with a diffrent language that I don't understand, imaging how painful it is being a cancer patient, Firstly let me introduce myself to you. I am Mrs. Asiyah Ahmed Hassanal Bolkiah, a widow to Late Sheik Ahmed Hassanal Bolkiah of Brunei Darussalam, I am 45years old and I have a son of 16years of age who is at the moment in Benin Republic and I am suffering from cancer of the lungs which I will soon undergo the operation, I want to also let you know that I am writing you this mail from a private hospital here where I am taking my part-time treatments, what will you do if your doctor come up and tell you that you have only few weeks to live? You can imagine the kind of pains I am going through. My husband is the first Son to the last wife of King Haji Omar Ali Saifuddien Sadul Khairi Waddien, the former Prime minister of Brunei Darussalam, the tiny oil-rich country on the Island in South-Eastern Asia, let me save your time by not amplifying my extended royal family history which has already been disseminated by the international media during the controversial dispute that erupted between my Husband and his step-brother, the sultan of Brunei H.M.Sultan Haji Hassanal Bolkiah who is the present King/prime minister of Brunei. As you may know from the international media, the sultan of Brunei accused my husband who is his step-brother for financial mismanagement and impropriety of US$14.8 billion dollars and this was as a result of the Asian Financial crisis that made my husband's company Amedeo Development Company that was inherited by my husband and government owned Brunei investment company to be declared bankrupt during his tenure in the office.. However my my husband was kept under house arrest by his own step brother, our bank accounts and private properties including a crude oil export refinery were later confiscated by the sultan and to worsen the whole thing, he has to assassinate my beloved husband and I was placed under house arrest by the sultan so that I will not tell the international community what has happened and that is where I developed this cancer of the lungs which is killing me now but I still believe that it is the will of God that life treat me this way. To avoid further prosecution and sufferings from the sultan and his security operatives since I have lost my husband and I have my only child to keep me happy, I decided to leave my country Brunei to Benin Republic in West Africa where my husband has deposited the sum of ( US$15 Million Dollars) in a reputable bank but unfortunately for me this my illness has became worst and I have been placed at the hospital for medical attention here, so I am planing to fly to abroad for good medication and a perfect surgical operation because according to what my doctor told me that I may not live for more than a month without this operation, I am so scared about this because she has made me understand that I have only 20% chance to survive this surgery and for that reason, I want to make a future for my only son before undergoing this surgery so that even if I die on the process of this surgery, my son will be taken care of by you. The reason why I am contacting you is to know if you can arrange for a better hospital over there so that I can come there for a better surgery and aslo to know if you can take care of my son when I will been undergoing this surgery, I have decided to give you this sum of (US$ 15 Million) that I inherited from my late husband so that you can invest it in a very lucrative business in your country, we never can tell what will happen during the surgery, so that in case if anything happen to me during this operation, my son will have someone to take care of him and abusiness/funds to inherit for a good future or if this surgery gos well, I will have a business that I can use to take care of my only son. Please note that this fund is lying with a reputable Bank here in Benin Republic of West Africa and as I am writing this message to you from a hospital Bed, I am not sure that I will survive this operation but even if I have to die, first I want to secure a future form only son. You may ask yourself why am I saying all this but I believe you never experience this kind of problem either have you meet anyone in this kind of situation, have you ever use a lap-top in the hospital to write a letter to a stranger for help? From a foreign land where you have no father, mother or anyone who can help you? In the mist of people that speak entirely different language? When all the people you trust become the people after your life? Well, you may not understand but I want you to take this more serious and urgently important. All I WANT FROM YOU IS TO TAKE THE MONEY WITH MY SON AND INVEST IT SO THAT YOU CAN TAKE CARE OF MY SON IF I DID NOT SURVIVE THIS. Please get back to me very fast so that I can tell you what to do because my days now is being numberred. May the peace of God be with you? Mrs. Asiyah Ahmed Hassanal Bolkiah Please, know it that this is my true story and I will like you to respond.HERE IS MY PRIVATE EMIL CONTACT; asiyah_m1@centrum.cz ; Yours, Mrs. Asiyah Ahmed</span></div></div>
--0-434129616-1229685925=:58587--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 13:54:06 2008
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I charge £5.00 at gigs. If I post any I charge £6.00 in UK, £7.00 for the 
rest of Europe, £8.00 for the rest of the world.
I do find that, as Tilmann said, The price I charge seems to have no bearing 
on how many I sell, so I think I may make a £1 - 2 increase soon.

----- Original Message ----- 
From: "Tilmann Dehnhard" <tilmann@dehnhard.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 19, 2008 9:54 AM
Subject: Re: CD pricing


> friends i charge the rounded sum i pay for it myself, depending on the 
> label thats 5 or 10 euro.
> in concerts i sell for 15 euro.i found out that to most people who 
> actually buy a cd the price is not really an issue.
> meaning: even if i sell them for ten, the same amount of people are gonna 
> buy them.
>
> tilmann
>
> projektGmail schrieb:


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Subject: Re: Norwich Looping Video
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Nice Andy, would you mind sharing those "special (sync) techniques"? I use a 
cheapo (Flip Ultra) camera but I record to my computer or minidisk. Syncing 
it up for me is rather inexact. Any tips would be appeciated. Vimeo would 
keep the stereo btw.

Jeff

http://www.thisphase.org/jeffdukedotorg.html

"It never hurts to help!"
_ Eek the Cat

----- Original Message ----- 
From: "andy butler" <akbutler@tiscali.co.uk>
To: "LD" <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 18, 2008 2:08 PM
Subject: Norwich Looping Video


> with Rick Walker,
> Jeremy & Chris
> Stephen Scott
> andy butler
>
> http://uk.youtube.com/watch?v=U169r_3nVWo
>
> Rick brought his little camera, and then left this footage with me,
> so I thought I'd edit it up into a little mini-vid.
> Audio is from the mixing desk, synced up by "special techniques"
> in the Butler laboratory.
>
>
> Looks like it got mono-ed, which is a shame.
>
> there'll be more "stuff" from the Norwich 2008 along soon,
> including some very nice loop ensemble stuff...
> even a bit more vid footage.
>
>
>
> andy butler
>
>
>
>


--------------------------------------------------------------------------------



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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 14:41:14 2008
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Date: Fri, 19 Dec 2008 09:28:47 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Re: Mahavishnu Orchestra:  seminal recordings    was:    one guitarist
    one drummer
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The Mahavishnu Project, Phase 2 is a 2 disk live recording by a 
tribute band led by the jazz drummer Greg Bendian. It captures the 
feel of a live Mahavishnu show at its prime (I attended quite a few) 
better than any disk by the original band.


At 11:05 PM -0800 12/18/08, Rick Walker wrote:
>Stephen Goodman wrote:
>"Woof, yes please.  I wore out two lp's of "Inner Mounting Flame" 
>before CDs came out. Post Fripp's CGT and GC works, a listen to that 
>album also holds lovely bits of quiet."
>
>
>A friend of mine in college (right as I was just becoming intrigued 
>by jazz but new nothing about it
>except what our father played---Bruebeck, some Miles, Big Band)
>recommended that we go early to an Emerson, Lake and Palmer concert 
>at Winterland which we had
>tickets for because there was this famous British Jazz guitarist, 
>John MCGlafflin (how he pronounced it)
>who had played with Miles on "In a Silent Way".
>
>Dutifully I convinced my brother to go early enough to watch this 
>opening act, called
>The Mahavishnu Orchestra.
>
>They came out and Cobham opened the show with the fastest drum roll 
>I'd ever heard in my life
>as McLaughlin ripped into Inner Mounting Flame on his double necked 
>gibson 6/12 string electric.
>
>One of the most amazing shows of my life and when we ran to the 
>record store to buy it the next week
>we found out that it had not even been released yet.
>
>We had to wait two weeks and I, too, have worn out two vinyl copies 
>of that beautiful  and completely
>life changing record for me.
>
>We were jazz fusion fanatics from that point on until the juice ran 
>out of the scene and
>the whole KOOL jazz thing coopted it all.
>
>Yeah,  great fucking record.
>
>If you are young on this list and haven't heard that record, or it's 
>follow up ,  "Birds of Fire"
>do yourself a favor and listen to some absolutely blistering and 
>passionate music.
>
>It was when fusion was brand new and everyone was taking huge chances.
>It has the rawness of punk rock and it's palpable to this day 
>(whereas a lot of later fusion
>classics have lost a lot of their charm).


-- 

		Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer	Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets."  -- Tom Lehrer

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Jeff Duke wrote:
> Nice Andy, would you mind sharing those "special (sync) techniques"? I 
> use a cheapo (Flip Ultra) camera but I record to my computer or 
> minidisk. Syncing it up for me is rather inexact. Any tips would be 
> appeciated. 

ok,
what I do is load up the vids into the editing software,
and arrange them,
then export a sound file of the camera audio.

Then I load that sound file into Audition (or multi-track editor of choice)
and make a matching hi-res sound file for the whole length of the film.
Digital recorders seem to keep very accurate time, so once I find
a sync point everything seems to match up well enough.
Hardest bit is looking at the distorted waveform from the camera audio
and trying to match it to the desk recording.
For fine tuning the alignment, I match vols and hard pan camera audio
and desk audio left and right respectively.






> Vimeo would keep the stereo btw.

ta,
 I should upload there too.

> 
> Jeff

andy
> 

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To: Loopers-Delight@loopers-delight.com
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On Fri, Dec 19, 2008 at 3:25 PM, Jeff Duke <jeff_d@embarqmail.com> wrote:
> Nice Andy, would you mind sharing those "special (sync) techniques"? I use a
> cheapo (Flip Ultra) camera but I record to my computer or minidisk. Syncing
> it up for me is rather inexact. Any tips would be appeciated. Vimeo would
> keep the stereo btw.

I too have a very cheap camera, in fact my cell phone. But I use the
same method as Andy to sync video with audio, although with other
specific applications. Since I mostly use a Mac I do it like this:

1. Import the video into Logic (it comes up as a special "Video Track")
2. Import different audio to dedicated stereo tracks i Logic (crappy
cam audio, line-out recording from mixer console, eventual extra audio
I want to add.
3. Move stuff around along the time line in Logic to make it all sync.
4. Export a stereo mix of the refined audio.
5. Open the video in QuickTime Pro.
6. Import the new audio into QTP.

QuickTime Pro in stage 5-6 can be changed for iMove (a free software
that comes with every Mac) like:

5. Import Video into iMovie.
6. Import audio into iMovie.
7. Fiddle around with video cuts, graphic fades etc.
8. Export to a file in the video format of choice.

With iMovie I like the option you get to use clips of both video
filming and still pictures. It's a drag-n-drop canvas to mock up a
movie. I do not feel any urge to get a better camera, since I love
that crappy looking cell phone cam style, but I am tempted to get the
better video editing application Final Cut Pro.

Per

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Thanks Andy, thats pretty close to what I do except when I videod me playing 
but was recording direct there was no camera sountrack so I had to use hand 
movements. I now leave a little sound for the camera to pick up. thanks a 
bunch. I'm looking forward for more!

Jeff

----- Original Message ----- 
From: "andy butler" <akbutler@tiscali.co.uk>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 19, 2008 10:01 AM
Subject: Re: Norwich Looping Video OT Vid Sync magic


> Jeff Duke wrote:
>> Nice Andy, would you mind sharing those "special (sync) techniques"? I
>> use a cheapo (Flip Ultra) camera but I record to my computer or
>> minidisk. Syncing it up for me is rather inexact. Any tips would be
>> appeciated.
>
> ok,
> what I do is load up the vids into the editing software,
> and arrange them,
> then export a sound file of the camera audio.
>
> Then I load that sound file into Audition (or multi-track editor of 
> choice)
> and make a matching hi-res sound file for the whole length of the film.
> Digital recorders seem to keep very accurate time, so once I find
> a sync point everything seems to match up well enough.
> Hardest bit is looking at the distorted waveform from the camera audio
> and trying to match it to the desk recording.
> For fine tuning the alignment, I match vols and hard pan camera audio
> and desk audio left and right respectively.
>
>
>
>
>
>
>> Vimeo would keep the stereo btw.
>
> ta,
> I should upload there too.
>
>>
>> Jeff
>
> andy
>>
>


--------------------------------------------------------------------------------



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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
References: <494A9FB0.7090109@tiscali.co.uk> <002d01c961e5$b484d8e0$0202a8c0@YOUR08D5303051> <494BB74F.9070306@tiscali.co.uk>
Subject: Re: Norwich Looping Video OT Vid Sync magic
Date: Fri, 19 Dec 2008 16:21:48 -0000
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Very cool, Andy. So, it's all held within your own studio? Look forward to 
seeing/hearing more.

Ricky

----- Original Message ----- 
From: "andy butler" <akbutler@tiscali.co.uk>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 19, 2008 3:01 PM
Subject: Re: Norwich Looping Video OT Vid Sync magic


> Jeff Duke wrote:
>> Nice Andy, would you mind sharing those "special (sync) techniques"? I 
>> use a cheapo (Flip Ultra) camera but I record to my computer or minidisk. 
>> Syncing it up for me is rather inexact. Any tips would be appeciated.
>
> ok,
> what I do is load up the vids into the editing software,
> and arrange them,
> then export a sound file of the camera audio.
>
> Then I load that sound file into Audition (or multi-track editor of 
> choice)
> and make a matching hi-res sound file for the whole length of the film.
> Digital recorders seem to keep very accurate time, so once I find
> a sync point everything seems to match up well enough.
> Hardest bit is looking at the distorted waveform from the camera audio
> and trying to match it to the desk recording.
> For fine tuning the alignment, I match vols and hard pan camera audio
> and desk audio left and right respectively.
>
>
>
>
>
>
>> Vimeo would keep the stereo btw.
>
> ta,
> I should upload there too.
>
>>
>> Jeff
>
> andy
>>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.19/1857 - Release 
> Date: 19/12/2008 10:09
>
> 

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Subject: Re: Live Looping in an ensemble context.....what gear do u use?
Date: Fri, 19 Dec 2008 16:22:52 -0000
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Thanks for your response, Stefan.

Ricky=20
  ----- Original Message -----=20
  From: Stefan Smulovitz=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Thursday, December 18, 2008 5:43 PM
  Subject: Re: Live Looping in an ensemble context.....what gear do u =
use?


  Hi Ricky,


  I use either filters to help focus the sound or pitch shift the =
material. Often time pitch shifting musical material downwards sounds =
better than going up. There is something about the chipmunk effect that =
is just too comical and not pleasing. But I have found that if you pitch =
shift material up say 3 octaves or more you remove the sound from =
chipmunk territory and into some nice tinkly sounds that work great if =
you want to fill the higher frequencies.=20


  My music is in the more experimental realm so I am not worried about =
timing and in fact love the phasing that happens between using the same =
loop at multiple pitches.=20


  The granular syth section of Kenaxis also allows for transforming a =
captured loop into all kinds of different pitch clouds. Playing with the =
delay between the grains you can create sparser textures that have space =
in them for other things to happen.


  I also have a negative crossfade option on the loopers. This adds =
space between the loops also helping create more space and avoid the =
mush.


  Of course the mush can be fun too - but its nice to have options.


  Stefan




  On Dec 18, 2008, at 3:29 AM, Ricky Graham wrote:


    Hi Stefan,

    I must check out your software. If you don't mind me asking, how did =
you manipulate loops into frequency ranges? It is something that I find =
interesting at the moment, especially if only one member of an ensemble =
is looping, and like you said it can lead to 'mush.' I find this is a =
common trait when you are 'limited' by the range of your instrument. As =
a guitar player, I find myself striving to voice motifs differently =
before tweaking post fade to try and give each loop it's own space in =
the mix.

    Cheers,

    Ricky
      From: Stefan Smulovitz
      To: Loopers-Delight@loopers-delight.com
      Sent: Wednesday, December 17, 2008 8:21 PM
      Subject: Re: Live Looping in an ensemble context.....what gear do =
u use?


      I almost always loop with others. Although to be fair often I am =
just controlling the loops and not playing my viola at the same time.=20


      You can hear some of my duet work with vocalist Viviane Houle at =
these two sites.


      =
http://www.cellarlive.com/discography.php?section=3DDiscography&page=3D60=



      http://vivianehoule.ca/index.php?mpage=3Dmusic


      As for tools - I use Kenaxis which is the software I've developed. =
One of the main new features I added to version 3 was the ability to =
choose from any of up to 8 inputs that I can have going into Kenaxis. =
This allows me to decided to loop and manipulate any player I want in a =
group once I setup enough looping mics. It is hard not to get into a =
mush when you have more than 3 or 4 players. Done a couple of large =
ensemble gigs with 12+ players and just had to find ways of manipulating =
the loops into frequency ranges that most normal instruments can't get =
to.=20


      As for evolving loops - there is so much that can be done with a =
loop which is why I am more than happy just capturing and manipulating =
the loops while another player creates fresh material. It is great fun =
to see a players reaction who usually does not play with loops once =
their material starts coming back at them.


      Stefan


      ----------------------------------------------------
      www.kenaxis.com






  ----------------------------------------------------

  www.kenaxis.com





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


  No virus found in this incoming message.
  Checked by AVG.=20
  Version: 7.5.552 / Virus Database: 270.9.19/1854 - Release Date: =
17/12/2008 19:21

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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 6.00.2900.2180" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; webkit-nbsp-mode: space; =
webkit-line-break: after-white-space"=20
bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Thanks for your response, =
Stefan.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ricky</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"><B>From:</B>=20
  <A title=3Dstefan@kenaxis.com =
href=3D"mailto:stefan@kenaxis.com">Stefan=20
  Smulovitz</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, December 18, =
2008 5:43=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Live Looping in an =
ensemble=20
  context.....what gear do u use?</DIV>
  <DIV><BR></DIV>Hi Ricky,
  <DIV><BR></DIV>
  <DIV>I use either filters to help focus the sound or pitch shift the =
material.=20
  Often time pitch shifting musical material downwards sounds better =
than going=20
  up. There is something about the chipmunk effect that is just too =
comical and=20
  not pleasing. But I have found that if you pitch shift material up say =
3=20
  octaves or more you remove the sound from chipmunk territory and into =
some=20
  nice tinkly sounds that work great if you want to fill the higher=20
  frequencies.&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV>My music is in the more experimental realm so I am not worried =
about=20
  timing and in fact love the phasing that happens between using the =
same loop=20
  at multiple pitches.&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV>The granular syth section of Kenaxis also allows for transforming =
a=20
  captured loop into all kinds of different pitch clouds. Playing with =
the delay=20
  between the grains you can create sparser textures that have space in =
them for=20
  other things to happen.</DIV>
  <DIV><BR></DIV>
  <DIV>I also have a negative crossfade option on the loopers. This adds =
space=20
  between the loops also helping create more space and avoid the =
mush.</DIV>
  <DIV><BR></DIV>
  <DIV>Of course the mush can be fun too - but its nice to have =
options.</DIV>
  <DIV><BR></DIV>
  <DIV>Stefan</DIV>
  <DIV><BR></DIV>
  <DIV><BR>
  <DIV>
  <DIV>On Dec 18, 2008, at 3:29 AM, Ricky Graham 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; orphans: 2; widows: =
2; 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 style=3D"WORD-WRAP: break-word" bgcolor=3D"#ffffff">
    <DIV><FONT face=3DArial size=3D2>Hi Stefan,</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>I must check out your software. If =
you don't=20
    mind me asking, how did you manipulate loops into frequency ranges? =
It is=20
    something that I find interesting at the moment, especially if only =
one=20
    member of an ensemble is looping, and like you said it can&nbsp;lead =

    to&nbsp;'mush.' I find this is a&nbsp;common trait when you=20
    are&nbsp;'limited' by the range of your instrument. As a guitar =
player, I=20
    find myself striving to voice motifs differently =
before&nbsp;tweaking post=20
    fade to try and give each loop it's own space in the =
mix.</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>Cheers,</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>Ricky</FONT></DIV>
    <BLOCKQUOTE=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; BACKGROUND-COLOR: rgb(228,228,228); =
webkit-background-clip: initial; webkit-background-origin: =
initial"><B>From:</B><SPAN=20
      class=3DApple-converted-space>&nbsp;</SPAN><A =
title=3Dstefan@kenaxis.com=20
      href=3D"mailto:stefan@kenaxis.com">Stefan Smulovitz</A></DIV>
      <DIV style=3D"FONT: 10pt arial"><B>To:</B><SPAN=20
      class=3DApple-converted-space>&nbsp;</SPAN><A=20
      title=3DLoopers-Delight@loopers-delight.com=20
      =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loope=
rs-delight.com</A></DIV>
      <DIV style=3D"FONT: 10pt arial"><B>Sent:</B><SPAN=20
      class=3DApple-converted-space>&nbsp;</SPAN>Wednesday, December 17, =
2008 8:21=20
      PM</DIV>
      <DIV style=3D"FONT: 10pt arial"><B>Subject:</B><SPAN=20
      class=3DApple-converted-space>&nbsp;</SPAN>Re: Live Looping in an =
ensemble=20
      context.....what gear do u use?</DIV>
      <DIV><BR></DIV>I almost always loop with others. Although to be =
fair often=20
      I am just controlling the loops and not playing my viola at the =
same=20
time.&nbsp;
      <DIV><BR></DIV>
      <DIV>You can hear some of my duet work with vocalist Viviane Houle =
at=20
      these two sites.</DIV>
      <DIV><BR></DIV>
      <DIV><A=20
      =
href=3D"http://www.cellarlive.com/discography.php?section=3DDiscography&a=
mp;page=3D60">http://www.cellarlive.com/discography.php?section=3DDiscogr=
aphy&amp;page=3D60</A></DIV>
      <DIV><BR></DIV>
      <DIV><A=20
      =
href=3D"http://vivianehoule.ca/index.php?mpage=3Dmusic">http://vivianehou=
le.ca/index.php?mpage=3Dmusic</A></DIV>
      <DIV><BR></DIV>
      <DIV>As for tools - I use Kenaxis which is the software I've =
developed.=20
      One of the main new features I added to version 3 was the ability =
to=20
      choose from any of up to 8 inputs that I can have going into =
Kenaxis. This=20
      allows me to decided to loop and manipulate any player I want in a =
group=20
      once I setup enough looping mics. It is hard not to get into a =
mush when=20
      you have more than 3 or 4 players. Done a couple of large ensemble =
gigs=20
      with 12+ players and just had to find ways of manipulating the =
loops into=20
      frequency ranges that most normal instruments can't get =
to.&nbsp;</DIV>
      <DIV><BR></DIV>
      <DIV>As for evolving loops - there is so much that can be done =
with a loop=20
      which is why I am more than happy just capturing and manipulating =
the=20
      loops while another player creates fresh material. It is great fun =
to see=20
      a players reaction who usually does not play with loops once their =

      material starts coming back at them.</DIV>
      <DIV><BR></DIV>
      <DIV>Stefan</DIV>
      <DIV><BR></DIV>
      <DIV>
      <DIV apple-content-edited=3D"true">
      <DIV>
      <DIV style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      =
size=3D3>----------------------------------------------------</FONT></DIV=
>
      <DIV style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
      size=3D3><A=20
      =
href=3D"http://www.kenaxis.com">www.kenaxis.com</A></FONT></DIV></DIV></D=
IV><BR></DIV>
      <DIV><BR></DIV></BLOCKQUOTE></DIV></SPAN></BLOCKQUOTE></DIV><BR>
  <DIV apple-content-edited=3D"true">
  <DIV>
  <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
  =
size=3D3>----------------------------------------------------</FONT></P>
  <P style=3D"MARGIN: 0px"><FONT style=3D"FONT: 12px Helvetica" =
face=3DHelvetica=20
  size=3D3><A=20
  =
href=3D"http://www.kenaxis.com">www.kenaxis.com</A></FONT></P></DIV></DIV=
><BR></DIV>
  <P>
  <HR>

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To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: Norwich Looping Video
Date: Fri, 19 Dec 2008 11:28:23 -0500
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Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and I can 
use stills also. I have alot to learn with it. It's really deeper than I 
care to go but it does work well with Sony Sound Forge. All pc but similar 
capabilities perhaps.

Jeff

----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 19, 2008 10:22 AM
Subject: Re: Norwich Looping Video


> On Fri, Dec 19, 2008 at 3:25 PM, Jeff Duke <jeff_d@embarqmail.com> wrote:
>> Nice Andy, would you mind sharing those "special (sync) techniques"? I 
>> use a
>> cheapo (Flip Ultra) camera but I record to my computer or minidisk. 
>> Syncing
>> it up for me is rather inexact. Any tips would be appeciated. Vimeo would
>> keep the stereo btw.
>
> I too have a very cheap camera, in fact my cell phone. But I use the
> same method as Andy to sync video with audio, although with other
> specific applications. Since I mostly use a Mac I do it like this:
>
> 1. Import the video into Logic (it comes up as a special "Video Track")
> 2. Import different audio to dedicated stereo tracks i Logic (crappy
> cam audio, line-out recording from mixer console, eventual extra audio
> I want to add.
> 3. Move stuff around along the time line in Logic to make it all sync.
> 4. Export a stereo mix of the refined audio.
> 5. Open the video in QuickTime Pro.
> 6. Import the new audio into QTP.
>
> QuickTime Pro in stage 5-6 can be changed for iMove (a free software
> that comes with every Mac) like:
>
> 5. Import Video into iMovie.
> 6. Import audio into iMovie.
> 7. Fiddle around with video cuts, graphic fades etc.
> 8. Export to a file in the video format of choice.
>
> With iMovie I like the option you get to use clips of both video
> filming and still pictures. It's a drag-n-drop canvas to mock up a
> movie. I do not feel any urge to get a better camera, since I love
> that crappy looking cell phone cam style, but I am tempted to get the
> better video editing application Final Cut Pro.
>
> Per
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
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8:06 PM

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 16:36:43 2008
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Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came
for Mac SoundForge is the last Windows application I have not found a
Mac equivalent to. There's Peak and Wavelab for Mac but neither of
them is as fast and simple as SoundForge, IMHO.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke <jeff_d@embarqmail.com> wrote:
> Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and I can
> use stills also. I have alot to learn with it. It's really deeper than I
> care to go but it does work well with Sony Sound Forge. All pc but similar
> capabilities perhaps.

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From: "Simeon Harris" <simeonharris40@googlemail.com>
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i was thinking of making some vids with my little camera and recording the
audio in logic, so i was contemplating how to sync up the audio and
video....and then i thought of the obvious solution - a clapperboard...or
something that would perform the same function - they used it in the old
days to sync up the audio and video...i would probably just hit the guitar
strings a couple of times with a dry sound, so i've got a percussive noise
and and obvious visual cue....

sim

------=_Part_35947_2834415.1229704637949
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i was thinking of making some vids with my little camera and recording the audio in logic, so i was contemplating how to sync up the audio and video....and then i thought of the obvious solution - a clapperboard...or something that would perform the same function - they used it in the old days to sync up the audio and video...i would probably just hit the guitar strings a couple of times with a dry sound, so i&#39;ve got a percussive noise and and obvious visual cue....<br>
<br>sim<br>

------=_Part_35947_2834415.1229704637949--

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in case you don't know what a clapperboard is - here's one...
http://www.thegadgetblog.com/wp-content/uploads/2008/05/clapperboard.jpg

On Fri, Dec 19, 2008 at 4:37 PM, Simeon Harris <
simeonharris40@googlemail.com> wrote:

> i was thinking of making some vids with my little camera and recording the
> audio in logic, so i was contemplating how to sync up the audio and
> video....and then i thought of the obvious solution - a clapperboard...or
> something that would perform the same function - they used it in the old
> days to sync up the audio and video...i would probably just hit the guitar
> strings a couple of times with a dry sound, so i've got a percussive noise
> and and obvious visual cue....
>
> sim
>

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in case you don&#39;t know what a clapperboard is - here&#39;s one... <a href="http://www.thegadgetblog.com/wp-content/uploads/2008/05/clapperboard.jpg">http://www.thegadgetblog.com/wp-content/uploads/2008/05/clapperboard.jpg</a><br>
<br><div class="gmail_quote">On Fri, Dec 19, 2008 at 4:37 PM, Simeon Harris <span dir="ltr">&lt;<a href="mailto:simeonharris40@googlemail.com">simeonharris40@googlemail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
i was thinking of making some vids with my little camera and recording the audio in logic, so i was contemplating how to sync up the audio and video....and then i thought of the obvious solution - a clapperboard...or something that would perform the same function - they used it in the old days to sync up the audio and video...i would probably just hit the guitar strings a couple of times with a dry sound, so i&#39;ve got a percussive noise and and obvious visual cue....<br>

<br>sim<br>
</blockquote></div><br>

------=_Part_35951_15613099.1229704760988--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 16:39:30 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Mahavishnu Orchestra:  seminal recordings    was:    one guitarist one drummer
Date: Fri, 19 Dec 2008 08:39:23 -0800
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I never got to see the Mahvishnu Orchestra live.

I got to see John McLaughlin live with his "Belo Horizonte" era group=20
once . . . and a later group with Dennis Chambers (another marvelous=20
drummer), organist Joey DeFrancesco, and some young bass player who's=20
name I forget back in '97 or '98.

I bought all the LPs, 8-tracks, cassettes and CDs that they (and he)=20
ever put out though.

My first introduction to John and the M.O. was the old "In Concert" TV=20=

program they used to put on in the US.

Concert footage of them performing a couple of pieces from "Birds of=20
Fire" was broadcast and I was totally hooked for life.

I believe one of the pieces they did was "One Word" that had a rather=20
mind-blowing drum solo in it.

The thing I always loved about Johns early playing is that it was so=20
fiery, passionate and furious as to be almost out of control at one=20
moment  . . . and then tender and lyrical a little later on in the same=20=

song.

I am by no means anything near the musician McLaughlin is but that=20
ability to couple fury and abandon with lyrical tenderness and=20
sensitivity is something that has been a deep DNA-level influence on=20
me.

And what can you say about Billy Cobham?

He's still out touring and making music too (I've a friend that plays=20
in his band).

McLaughlin has continued to make music too . . . but although I'm still=20=

a fan, his music seems less passionate, and much more "in control",=20
tidy and concise.

I really regret not having been able to see the first version of the=20
M.O. live in person.

I hear there are some decent DVDs out now containing come of that=20
material.

If John and Billy ever went out and traded jab "toe-to-toe" like they=20
did in those days they'd be a thing to see (and hear).

Nostalgia? Yes in deed.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")

On Dec 18, 2008, at 11:05 PM, Rick Walker wrote:

> Stephen Goodman wrote:
> "Woof, yes please.  I wore out two lp's of "Inner Mounting Flame"=20
> before CDs came out. Post Fripp's CGT and GC works, a listen to that=20=

> album also holds lovely bits of quiet."
>
>
> A friend of mine in college (right as I was just becoming intrigued by=20=

> jazz but new nothing about it
> except what our father played---Bruebeck, some Miles, Big Band)
> recommended that we go early to an Emerson, Lake and Palmer concert at=20=

> Winterland which we had
> tickets for because there was this famous British Jazz guitarist,  =20
> John MCGlafflin (how he pronounced it)
> who had played with Miles on "In a Silent Way".
>
> Dutifully I convinced my brother to go early enough to watch this=20
> opening act, called
> The Mahavishnu Orchestra.
>
> They came out and Cobham opened the show with the fastest drum roll=20
> I'd ever heard in my life
> as McLaughlin ripped into Inner Mounting Flame on his double necked=20
> gibson 6/12 string electric.
>
> One of the most amazing shows of my life and when we ran to the record=20=

> store to buy it the next week
> we found out that it had not even been released yet.
>
> We had to wait two weeks and I, too, have worn out two vinyl copies of=20=

> that beautiful  and completely
> life changing record for me.
>
> We were jazz fusion fanatics from that point on until the juice ran=20
> out of the scene and
> the whole KOOL jazz thing coopted it all.
>
> Yeah,  great fucking record.
>
> If you are young on this list and haven't heard that record, or it's=20=

> follow up ,  "Birds of Fire"
> do yourself a favor and listen to some absolutely blistering and=20
> passionate music.
>
> It was when fusion was brand new and everyone was taking huge chances.
> It has the rawness of punk rock and it's palpable to this day (whereas=20=

> a lot of later fusion
> classics have lost a lot of their charm).
>

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Subject: Re: Norwich Looping Video OT Vid Sync magic
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Ricky Graham wrote:
> Very cool, Andy. So, it's all held within your own studio? 

nope,
events are at various Norwich venues,

this one was a a place called Epic Studios.

andy


Look forward 
> to seeing/hearing more.
> 
> Ricky
> 
> ----- Original Message ----- From: "andy butler" <akbutler@tiscali.co.uk>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Friday, December 19, 2008 3:01 PM
> Subject: Re: Norwich Looping Video OT Vid Sync magic
> 
> 
>> Jeff Duke wrote:
>>> Nice Andy, would you mind sharing those "special (sync) techniques"? 
>>> I use a cheapo (Flip Ultra) camera but I record to my computer or 
>>> minidisk. Syncing it up for me is rather inexact. Any tips would be 
>>> appeciated.
>>
>> ok,
>> what I do is load up the vids into the editing software,
>> and arrange them,
>> then export a sound file of the camera audio.
>>
>> Then I load that sound file into Audition (or multi-track editor of 
>> choice)
>> and make a matching hi-res sound file for the whole length of the film.
>> Digital recorders seem to keep very accurate time, so once I find
>> a sync point everything seems to match up well enough.
>> Hardest bit is looking at the distorted waveform from the camera audio
>> and trying to match it to the desk recording.
>> For fine tuning the alignment, I match vols and hard pan camera audio
>> and desk audio left and right respectively.
>>
>>
>>
>>
>>
>>
>>> Vimeo would keep the stereo btw.
>>
>> ta,
>> I should upload there too.
>>
>>>
>>> Jeff
>>
>> andy
>>>
>>
>>
>>
>> -- 
>> No virus found in this incoming message.
>> Checked by AVG. Version: 7.5.552 / Virus Database: 270.9.19/1857 - 
>> Release Date: 19/12/2008 10:09
>>
>>
> 
> 

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Subject: Re: Norwich Looping Video OT Vid Sync magic
Date: Fri, 19 Dec 2008 11:51:22 -0500
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now thats a good idea! It would probably come through my pickups also =
for those midnight in my apt. jams when I can't crank it. about anything =
would work. I can't start all the audio video recordings at the same =
time so one master clue might just do it.=20

Jeff
  ----- Original Message -----=20
  From: Simeon Harris=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 19, 2008 11:39 AM
  Subject: Re: Norwich Looping Video OT Vid Sync magic


  in case you don't know what a clapperboard is - here's one... =
http://www.thegadgetblog.com/wp-content/uploads/2008/05/clapperboard.jpg


  On Fri, Dec 19, 2008 at 4:37 PM, Simeon Harris =
<simeonharris40@googlemail.com> wrote:

    i was thinking of making some vids with my little camera and =
recording the audio in logic, so i was contemplating how to sync up the =
audio and video....and then i thought of the obvious solution - a =
clapperboard...or something that would perform the same function - they =
used it in the old days to sync up the audio and video...i would =
probably just hit the guitar strings a couple of times with a dry sound, =
so i've got a percussive noise and and obvious visual cue....

    sim





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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.19/1856 - Release Date: =
12/18/2008 8:06 PM

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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>now thats a good idea! It would =
probably come=20
through my pickups also for those midnight in my apt. jams when I can't =
crank=20
it. about anything would work. I can't start all the audio video =
recordings at=20
the same time so one master clue might just do it. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3Dsimeonharris40@googlemail.com=20
  href=3D"mailto:simeonharris40@googlemail.com">Simeon Harris</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> Friday, December 19, 2008 =
11:39=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Norwich Looping =
Video OT Vid=20
  Sync magic</DIV>
  <DIV><BR></DIV>in case you don't know what a clapperboard is - here's =
one...=20
  <A=20
  =
href=3D"http://www.thegadgetblog.com/wp-content/uploads/2008/05/clapperbo=
ard.jpg">http://www.thegadgetblog.com/wp-content/uploads/2008/05/clapperb=
oard.jpg</A><BR><BR>
  <DIV class=3Dgmail_quote>On Fri, Dec 19, 2008 at 4:37 PM, Simeon =
Harris <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:simeonharris40@googlemail.com">simeonharris40@googlemail.c=
om</A>&gt;</SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">i=20
    was thinking of making some vids with my little camera and recording =
the=20
    audio in logic, so i was contemplating how to sync up the audio and=20
    video....and then i thought of the obvious solution - a =
clapperboard...or=20
    something that would perform the same function - they used it in the =
old=20
    days to sync up the audio and video...i would probably just hit the =
guitar=20
    strings a couple of times with a dry sound, so i've got a percussive =
noise=20
    and and obvious visual cue....<BR><BR>sim<BR></BLOCKQUOTE></DIV><BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.19/1856 -=20
  Release Date: 12/18/2008 8:06 PM<BR></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 16:51:34 2008
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        <Loopers-Delight@loopers-delight.com>
References: <BLU0-SMTP32DCC9D51025B8493DC057DCF00@phx.gbl>
Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Fri, 19 Dec 2008 08:51:27 -0800
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"The massive distortion gets on my nerves after a while"

I agree Krispen, I find that the distortion tone is often times the make or
break point  for me, of whether an artist really  speaks to me, or not.
Using distortion for many guitarists represents their lead voice, and in a
way it's analogues to what a sax player develops,  when choosing an
instrument, thickness of reeds, and embouchure.  Nels Kline has a great
sense of effects application, and at the same time his heavy distortion
sounds  can get pretty abrasive to my ears. Which I'm sure is the point. As
they say one man's pudding is another man's poison. Give me a Scott
Henderson, David Gilmour, Carlos Santana or Jeff  Beck any day of the week
as their tones are always stellar. I think the danger with heavy distortion
is that it can obscure a players personality and rob them of  dynamic range,
not to mention making for a muddy sometimes indistinct tone.  I also realize
that when you are trying to create sonic mayhem, distortion and fuzz can be
your best friends. 

 I love overdrive as to me its more controllable and sweeter sounding, than
fuzz or distortion, and  my aesthetic leans more towards that smoother, soft
clipping sound.  I have been using some octave fuzz as of late,  though  I
find I have to turn the treble down to get a smooth enough sound for my
ears. For a while my main overdrive has been a Duncan twin tube which is
very versatile, but recently I went looking for something in a smaller
package I could run on batteries if needed. I've always been a fan of Dumble
amps,  and the smooth creamy sound they are famous for. I also know that the
Dumble design is based on black face era fender amps with a twist.  Dumble
amps have a first gain stage that is essentially a solid state fet preamp, (
in other words, he had the bright idea to install what amounts to a tube
screamer like overdrive inside his amps.)  This circuitry is what gives
dumble amps their creamy smooth overdrive sound. Recently a pedal called a
Zen Drive crossed my radar, and on the recommendation of a work mate who
owns one, I ordered one direct from Hermida Audio in Florida. All the buzz
about these pedals is that they are as close to a Dumble overdrive   as you
can find without spending $20, 0000 and up for a used Dumble amp. The
designer even has a big glob of black silicone glue covering up the circuit
to hide the mojo,   much like Dumble did with his amps. I'm happy to say
that this is a fantastic pedal,  with great range and dynamics, somewhat
like a vintage tube screamer without the annoying mid range hump, and a
wider range of overdrive tones. Originally I had planned to buy one used on
E-bay because traditionally, demand has outstripped production of these
pedals and there was usually a waiting list of several months. The problem
was that all of the e-bay sellers were jacking up the price $50-100 dollars
to try and take advantage of this situation. I simply e-mailed the builder
and he told me they were available and ready to ship. It cost me $188
delivered to my door. If I could have found  it locally I would have bought
it, but as far as I know Hermida audio has no dealer network. I can't say
enough good things about this pedal, it sounds unreal, and it even looks
cool to.  The rumor is Alfonso Hermida designed this box for Robben Ford so
that he could get his sound, when having to use rented Fender amps and
didn't have the luxury of bringing his prized dumble. Whether or not this is
true, I think he really nailed the sound, and I am loving this pedal big
time. This pedal rocks, and considering what a re-issue TS-808 costs, it's a
bargain.

Bill

 

  _____  

From: Krispen Hartung [mailto:info@krispenhartung.com] 
Sent: Thursday, December 18, 2008 4:37 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: One Guitarist, One Drummer was: Altered Tunings

 

Heh heh...yes. Sorry. John Morris is someone I work with. That was a habit
based typo. :)  I meant Joe.  Damn, good catch!  No one else got that?

 

Kris

----- Original Message ----- 


 


 

Not that I know every guitarist out there, but do you mean Joe Morris
instead of John Morris, Kris?

 

Joe Morris certainly kicks ass - double threat as guitarist and bassist.


 

It is very good, but doesn't do what Interstellar Space does for me.  And
clearly (with no disrespect to Nels, but more of a comment about the sheer
genius of Coltane), Nels' articulation on the guitar does not match
Coltrane's articulation and mastery of the sax.  Again, I don't think
anyone would deny that without underestimating Coltrane.

I don't know much about Nels Cline, and have not listened to all of his
material. All of it is very good from what I have heard. I like the tracks
on
the CD where he is playing clean, more than those where he has the shreader
guitar tone.  The massive distortion gets on my nerves after a while.

I would like to hear John Morris (guitar) and Billy Kilson (drum) doing
their
take of Interstellar Space.  I saw Billy Kilson with Dave Holland a few
years
ago, and was blown away. I have never seen a jazz drummer play with such
energy
and speed.  And of course, Morris that raw jazz tone that do well with a
homage
to Interstellar Space.

Kris

----- Original Message ----- 
> I think it fully earns the title. I find it pretty incredible. I'd be
curious to hear your reaction.
> 
> Gorgeous version of "Lonnie's Lament" on it, too, after all
the chaos.
> 
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
> 
>> I was not aware of this CD with Nels. I will have to check it out. The
question is, does it earn the title of Interstellar Space Revisited? That
album
of Coltrane's is insurpassable, allowing only remote approximations to its
level.
>> 
>> Kris
>> 
>> 
>>> Nels Cline and Gregg Bendian's "Interstellar Space
Revisited" is a superb reworking of Coltrane and Ali's masterpiece.
> 
> 

 


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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'>&#8220;</span></font>The massive
distortion gets on my nerves after a while&#8221;<o:p></o:p></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>I agree Krispen, I find that the distortion tone is often times =
the
make or break point &nbsp;for me, of whether an artist really&nbsp; =
speaks to
me, or not. Using distortion for many guitarists represents their lead =
voice,
and in a way it&#8217;s analogues to what a sax player develops, =
&nbsp;when
choosing an instrument, thickness of reeds, and embouchure. &nbsp;Nels =
Kline
has a great sense of effects application, and at the same time his heavy
distortion sounds &nbsp;can get pretty abrasive to my ears. Which =
I&#8217;m
sure is the point. As they say one man&#8217;s pudding is another =
man&#8217;s
poison. Give me a Scott Henderson, David Gilmour, Carlos Santana or Jeff =
&nbsp;Beck
any day of the week as their tones are always stellar. I think the =
danger with
heavy distortion is that it can obscure a players personality and rob =
them of &nbsp;dynamic
range, not to mention making for a muddy sometimes indistinct tone. =
&nbsp;I
also realize that when you are trying to create sonic mayhem, distortion =
and
fuzz can be your best friends. <o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>&nbsp;I love overdrive as to me its more controllable and =
sweeter
sounding, than fuzz or distortion, and &nbsp;my aesthetic leans more =
towards that
smoother, soft clipping sound. &nbsp;I have been using some octave fuzz =
as of
late, &nbsp;though &nbsp;I find I have to turn the treble down to get a =
smooth
enough sound for my ears. For a while my main overdrive has been a =
<st1:City
w:st=3D"on"><st1:place w:st=3D"on">Duncan</st1:place></st1:City> twin =
tube which is
very versatile, but recently I went looking for something in a smaller =
package
I could run on batteries if needed. I&#8217;ve always been a fan of =
Dumble
amps, &nbsp;and the smooth creamy sound they are famous for. I also know =
that the
Dumble design is based on black face era fender amps with a twist. =
&nbsp;Dumble
amps have a first gain stage that is essentially a solid state fet =
preamp, ( in
other words, he had the bright idea to install what amounts to a tube =
screamer
like overdrive inside his amps.) &nbsp;This circuitry is what gives =
dumble amps
their creamy smooth overdrive sound. Recently a pedal called a =
<st1:Street
w:st=3D"on"><st1:address w:st=3D"on">Zen =
Drive</st1:address></st1:Street> crossed
my radar, and on the recommendation of a work mate who owns one, I =
ordered one
direct from Hermida Audio in <st1:State w:st=3D"on"><st1:place =
w:st=3D"on">Florida</st1:place></st1:State>.
All the buzz about these pedals is that they are as close to a Dumble =
overdrive
&nbsp;&nbsp;as you can find without spending $20, 0000 and up for a used =
Dumble
amp. The designer even has a big glob of black silicone glue covering up =
the
circuit to hide the mojo, &nbsp;&nbsp;much like Dumble did with his =
amps. I&#8217;m
happy to say that this is a fantastic pedal,&nbsp; with great range and
dynamics, somewhat like a vintage tube screamer without the annoying mid =
range
hump, and a wider range of overdrive tones. Originally I had planned to =
buy one
used on E-bay because traditionally, demand has outstripped production =
of these
pedals and there was usually a waiting list of several months. The =
problem was
that all of the e-bay sellers were jacking up the price $50-100 dollars =
to try
and take advantage of this situation. I simply e-mailed the builder and =
he told
me they were available and ready to ship. It cost me $188 delivered to =
my door.
If I could have found &nbsp;it locally I would have bought it, but as =
far as I
know Hermida audio has no dealer network. I can&#8217;t say enough good =
things
about this pedal, it sounds unreal, and it even looks cool to.&nbsp; The =
rumor
is Alfonso Hermida designed this box for Robben Ford so that he could =
get his
sound, when having to use rented Fender amps and didn&#8217;t have the =
luxury of
bringing his prized dumble. Whether or not this is true, I think he =
really
nailed the sound, and I am loving this pedal big time. This pedal rocks, =
and
considering what a re-issue TS-808 costs, it&#8217;s a =
bargain.<o:p></o:p></span></font></p>

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

<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'> =
<st1:PersonName
w:st=3D"on">Krispen Hartung</st1:PersonName> =
[mailto:info@krispenhartung.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Thursday, December =
18, 2008
4:37 PM<br>
<b><span style=3D'font-weight:bold'>To:</span></b><st1:PersonName =
w:st=3D"on">
 Loopers-Delight@loopers-delight.com</st1:PersonName><br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: One =
Guitarist, One
Drummer was: Altered Tunings</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=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Heh heh...yes. Sorry. John Morris is someone I work =
with.
That was a habit based typo. :)&nbsp; I meant Joe.&nbsp; Damn, good
catch!&nbsp; No one else got that?</span></font><o:p></o:p></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=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Kris</span></font><o:p></o:p></p>

</div>

<blockquote style=3D'border:none;border-left:solid black =
1.5pt;padding:0in 0in 0in 5.0pt;
margin-left:4.7pt;margin-top:5.0pt;margin-right:0in;margin-bottom:5.0pt'>=


<div>

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

</div>

<div style=3D'font-color:black'>

<p class=3DMsoNormal style=3D'background:#E4E4E4'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'><br>
&nbsp;<o:p></o:p></span></font></p>

</div>

<table class=3DMsoNormalTable border=3D0 cellspacing=3D0 =
cellpadding=3D0>
 <tr>
  <td valign=3Dtop style=3D'padding:0in 0in 0in 0in'>
  <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'>Not that I know every guitarist out there, =
but do
  you mean Joe Morris instead of John Morris, =
Kris?<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'>Joe Morris certainly kicks ass - double =
threat as
  guitarist and bassist.<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'><br>
  &nbsp;<o:p></o:p></span></font></p>
  </div>
  <div>
  <p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
  face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>It is very =
good, but
  doesn't do what Interstellar Space does for me.&nbsp; And<br>
  clearly (with no disrespect to Nels, but more of a comment about the =
sheer<br>
  genius of Coltane), Nels' articulation on the guitar does not =
match<br>
  Coltrane's articulation and mastery of the sax.&nbsp; Again, I don't =
think<br>
  anyone would deny that without underestimating Coltrane.<br>
  <br>
  I don't know much about Nels Cline, and have not listened to all of =
his<br>
  material. All of it is very good from what I have heard. I like the =
tracks on<br>
  the CD where he is playing clean, more than those where he has the =
shreader<br>
  guitar tone.&nbsp; The massive distortion gets on my nerves after a =
while.<br>
  <br>
  I would like to hear John Morris (guitar) and Billy Kilson (drum) =
doing their<br>
  take of Interstellar Space.&nbsp; I saw Billy Kilson with Dave Holland =
a few
  years<br>
  ago, and was blown away. I have never seen a jazz drummer play with =
such
  energy<br>
  and speed.&nbsp; And of course, Morris that raw jazz tone that do well =
with a
  homage<br>
  to Interstellar Space.<br>
  <br>
  Kris<br>
  <br>
  ----- Original Message ----- <br>
  &gt; I think it fully earns the title. I find it pretty incredible. =
I'd be<br>
  curious to hear your reaction.<br>
  &gt; <br>
  &gt; Gorgeous version of &quot;Lonnie's Lament&quot; on it, too, after =
all<br>
  the chaos.<br>
  &gt; <br>
  &gt; <st1:PersonName w:st=3D"on">Daryl Shawn</st1:PersonName><br>
  &gt; www.swanwelder.com<br>
  &gt; www.chinapaintingmusic.com<br>
  &gt; <br>
  &gt;&gt; I was not aware of this CD with Nels. I will have to check it =
out.
  The<br>
  question is, does it earn the title of Interstellar Space Revisited? =
That
  album<br>
  of Coltrane's is insurpassable, allowing only remote approximations to =
its<br>
  level.<br>
  &gt;&gt; <br>
  &gt;&gt; Kris<br>
  &gt;&gt; <br>
  &gt;&gt; <br>
  &gt;&gt;&gt; Nels Cline and Gregg Bendian's &quot;Interstellar =
Space<br>
  Revisited&quot; is a superb reworking of Coltrane and Ali's =
masterpiece.<br>
  &gt; <br>
  &gt; <o:p></o:p></span></font></p>
  </div>
  </td>
 </tr>
</table>

<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>

</blockquote>

</div>

</body>

</html>

------=_NextPart_000_0064_01C961B6.FE268810--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 17:14:43 2008
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From: "Michael Peters" <mp@mpeters.de>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>,
	"CT-Collective" <Chain-Tape-Collective@yahoogroups.com>
Subject: Google Friend Connect
Date: Fri, 19 Dec 2008 18:14:39 +0100
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I can't say that I fully understand how this is going to work but it sounds
like an intriguing idea ... I've added a Google Friend Connect widget to
www.michaelpeters.de ... please come and link! 

-Michael 

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 17:43:48 2008
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Subject: Re: Mahavishnu Orchestra:  seminal recordings    was:    one guitarist   one drummer
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If I remember correctly during that tour timeframe, didn't John M have a very short haircut for the era? He reminded me of my brother that worked for IBM (as opposed to the typical image of a guitar frontman). 

--- On Fri, 12/19/08, Rick Walker <looppool@cruzio.com> wrote:

From: Rick Walker <looppool@cruzio.com>
Subject: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Date: Friday, December 19, 2008, 2:05 AM

Stephen Goodman wrote:
"Woof, yes please.  I wore out two lp's of "Inner Mounting
Flame" before CDs came out. Post Fripp's CGT and GC works, a listen to
that album also holds lovely bits of quiet."


A friend of mine in college (right as I was just becoming intrigued by jazz but
new nothing about it
except what our father played---Bruebeck, some Miles, Big Band)
recommended that we go early to an Emerson, Lake and Palmer concert at
Winterland which we had
tickets for because there was this famous British Jazz guitarist,   John
MCGlafflin (how he pronounced it)
who had played with Miles on "In a Silent Way".

Dutifully I convinced my brother to go early enough to watch this opening act,
called
The Mahavishnu Orchestra.

They came out and Cobham opened the show with the fastest drum roll I'd
ever heard in my life
as McLaughlin ripped into Inner Mounting Flame on his double necked gibson 6/12
string electric.

One of the most amazing shows of my life and when we ran to the record store to
buy it the next week
we found out that it had not even been released yet.

We had to wait two weeks and I, too, have worn out two vinyl copies of that
beautiful  and completely
life changing record for me.

We were jazz fusion fanatics from that point on until the juice ran out of the
scene and
the whole KOOL jazz thing coopted it all.

Yeah,  great fucking record.

If you are young on this list and haven't heard that record, or it's
follow up ,  "Birds of Fire"
do yourself a favor and listen to some absolutely blistering and passionate
music.

It was when fusion was brand new and everyone was taking huge chances.
It has the rawness of punk rock and it's palpable to this day (whereas a
lot of later fusion
classics have lost a lot of their charm).




      
--0-1758019561-1229708227=:70486
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;">If I remember correctly during that tour timeframe, didn't John M have a very short haircut for the era? He reminded me of my brother that worked for IBM (as opposed to the typical image of a guitar frontman). <BR><BR>--- On <B>Fri, 12/19/08, Rick Walker <I>&lt;looppool@cruzio.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Rick Walker &lt;looppool@cruzio.com&gt;<BR>Subject: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer<BR>To: "LOOPERS DELIGHT (posting)" &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Friday, December 19, 2008, 2:05 AM<BR><BR><PRE>Stephen Goodman wrote:
"Woof, yes please.  I wore out two lp's of "Inner Mounting
Flame" before CDs came out. Post Fripp's CGT and GC works, a listen to
that album also holds lovely bits of quiet."


A friend of mine in college (right as I was just becoming intrigued by jazz but
new nothing about it
except what our father played---Bruebeck, some Miles, Big Band)
recommended that we go early to an Emerson, Lake and Palmer concert at
Winterland which we had
tickets for because there was this famous British Jazz guitarist,   John
MCGlafflin (how he pronounced it)
who had played with Miles on "In a Silent Way".

Dutifully I convinced my brother to go early enough to watch this opening act,
called
The Mahavishnu Orchestra.

They came out and Cobham opened the show with the fastest drum roll I'd
ever heard in my life
as McLaughlin ripped into Inner Mounting Flame on his double necked gibson 6/12
string electric.

One of the most amazing shows of my life and when we ran to the record store to
buy it the next week
we found out that it had not even been released yet.

We had to wait two weeks and I, too, have worn out two vinyl copies of that
beautiful  and completely
life changing record for me.

We were jazz fusion fanatics from that point on until the juice ran out of the
scene and
the whole KOOL jazz thing coopted it all.

Yeah,  great fucking record.

If you are young on this list and haven't heard that record, or it's
follow up ,  "Birds of Fire"
do yourself a favor and listen to some absolutely blistering and passionate
music.

It was when fusion was brand new and everyone was taking huge chances.
It has the rawness of punk rock and it's palpable to this day (whereas a
lot of later fusion
classics have lost a lot of their charm).

</PRE></BLOCKQUOTE></td></tr></table><br>



      
--0-1758019561-1229708227=:70486--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 18:07:42 2008
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To: Loopers-Delight@loopers-delight.com
Subject: Re: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
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I notice "Dr. Fusion" has some live recordings of Mahavishnu: I'll
have to wait though to check them out when I get home from work:
http://troward.blogspot.com/2008/12/mahavishnu-orchestra-live-at-auditorium.html

On Fri, Dec 19, 2008 at 6:28 AM, Emile Tobenfeld (a.k.a Dr. T)
<emile@foryourhead.com> wrote:
> The Mahavishnu Project, Phase 2 is a 2 disk live recording by a tribute band
> led by the jazz drummer Greg Bendian. It captures the feel of a live
> Mahavishnu show at its prime (I attended quite a few) better than any disk
> by the original band.
>
>
> At 11:05 PM -0800 12/18/08, Rick Walker wrote:
>>
>> Stephen Goodman wrote:
>> "Woof, yes please.  I wore out two lp's of "Inner Mounting Flame" before
>> CDs came out. Post Fripp's CGT and GC works, a listen to that album also
>> holds lovely bits of quiet."
>>
>>
>> A friend of mine in college (right as I was just becoming intrigued by
>> jazz but new nothing about it
>> except what our father played---Bruebeck, some Miles, Big Band)
>> recommended that we go early to an Emerson, Lake and Palmer concert at
>> Winterland which we had
>> tickets for because there was this famous British Jazz guitarist, John
>> MCGlafflin (how he pronounced it)
>> who had played with Miles on "In a Silent Way".
>>
>> Dutifully I convinced my brother to go early enough to watch this opening
>> act, called
>> The Mahavishnu Orchestra.
>>
>> They came out and Cobham opened the show with the fastest drum roll I'd
>> ever heard in my life
>> as McLaughlin ripped into Inner Mounting Flame on his double necked gibson
>> 6/12 string electric.
>>
>> One of the most amazing shows of my life and when we ran to the record
>> store to buy it the next week
>> we found out that it had not even been released yet.
>>
>> We had to wait two weeks and I, too, have worn out two vinyl copies of
>> that beautiful  and completely
>> life changing record for me.
>>
>> We were jazz fusion fanatics from that point on until the juice ran out of
>> the scene and
>> the whole KOOL jazz thing coopted it all.
>>
>> Yeah,  great fucking record.
>>
>> If you are young on this list and haven't heard that record, or it's
>> follow up ,  "Birds of Fire"
>> do yourself a favor and listen to some absolutely blistering and
>> passionate music.
>>
>> It was when fusion was brand new and everyone was taking huge chances.
>> It has the rawness of punk rock and it's palpable to this day (whereas a
>> lot of later fusion
>> classics have lost a lot of their charm).
>
>
> --
>
>                Emile Tobenfeld, Ph. D.
> Video Producer and Digital Photographer Image Processing Specialist
> Video for your HEAD!                    Boris FX
> http://www.foryourhead.com              http://www.borisfx.com
>
> My photography can be viewed at
> http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/
>
> My videos can be viewed at
> http://www.youtube.com/Tobenfeld
>
> "Don't make book, if you cannot cover bets."  -- Tom Lehrer
>
>



-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon

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From: ditch wrestler <ditchwrestler@yahoo.com>
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Subject: Re: One Guitarist, One Drummer   was:  Altered Tunings
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=A0
Joe Morris kicks butt - totally under the radar but his music is top notch.=
=A0 Here's some of his stuff http://inconstantsol.blogspot.com/search?q=3Dj=
oe+morris
=A0
I don't think he's ever used any effets; it's=A0just him, a guitar, and an =
amp and he gets more sounds and textures out of that then anybody else...
=A0

ted.
Enemies are good for self-definition. Werner Herzog

--- On Thu, 12/18/08, Krispen Hartung <info@krispenhartung.com> wrote:

From: Krispen Hartung <info@krispenhartung.com>
Subject: Re: One Guitarist, One Drummer was: Altered Tunings
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 18, 2008, 4:37 PM





Heh heh...yes. Sorry. John Morris is someone I work with. That was a habit =
based typo. :)=A0 I meant Joe.=A0 Damn, good catch!=A0 No one else got that=
?
=A0
Kris

----- Original Message -----=20

=A0




=A0
Not that I know every guitarist out there, but do you mean Joe Morris inste=
ad of John Morris, Kris?
=A0
Joe Morris certainly kicks ass - double threat as guitarist and bassist.

=A0
It is very good, but doesn't do what Interstellar Space does for me.=A0 And
clearly (with no disrespect to Nels, but more of a comment about the sheer
genius of Coltane), Nels' articulation on the guitar does not match
Coltrane's articulation and mastery of the sax.=A0 Again, I don't think
anyone would deny that without underestimating Coltrane.

I don't know much about Nels Cline, and have not listened to all of his
material. All of it is very good from what I have heard. I like the tracks =
on
the CD where he is playing clean, more than those where he has the shreader
guitar tone.=A0 The massive distortion gets on my nerves after a while.

I would like to hear John Morris (guitar) and Billy Kilson (drum) doing the=
ir
take of Interstellar Space.=A0 I saw Billy Kilson with Dave Holland a few y=
ears
ago, and was blown away. I have never seen a jazz drummer play with such en=
ergy
and speed.=A0 And of course, Morris that raw jazz tone that do well with a =
homage
to Interstellar Space.

Kris

----- Original Message -----=20
> I think it fully earns the title. I find it pretty incredible. I'd be
curious to hear your reaction.
>=20
> Gorgeous version of "Lonnie's Lament" on it, too, after all
the chaos.
>=20
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>=20
>> I was not aware of this CD with Nels. I will have to check it out. The
question is, does it earn the title of Interstellar Space Revisited? That a=
lbum
of Coltrane's is insurpassable, allowing only remote approximations to its
level.
>>=20
>> Kris
>>=20
>>=20
>>> Nels Cline and Gregg Bendian's "Interstellar Space
Revisited" is a superb reworking of Coltrane and Ali's masterpiece.
>=20
>=20


=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>&nbsp;</DIV>
<DIV>Joe Morris kicks butt - totally under the radar but his music is top notch.&nbsp; Here's some of his stuff <A href="http://inconstantsol.blogspot.com/search?q=joe+morris">http://inconstantsol.blogspot.com/search?q=joe+morris</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>I don't think he's ever used any effets; it's&nbsp;just him, a guitar, and an amp and he gets more sounds and textures out of that then anybody else...</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>ted.<BR>Enemies are good for self-definition. Werner Herzog<BR><BR>--- On <B>Thu, 12/18/08, Krispen Hartung <I>&lt;info@krispenhartung.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Krispen Hartung &lt;info@krispenhartung.com&gt;<BR>Subject: Re: One Guitarist, One Drummer was: Altered Tunings<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 18, 2008, 4:37 PM<BR><BR>
<DIV id=yiv454690480>
<STYLE></STYLE>

<DIV><FONT face=Arial size=2>Heh heh...yes. Sorry. John Morris is someone I work with. That was a habit based typo. :)&nbsp; I meant Joe.&nbsp; Damn, good catch!&nbsp; No one else got that?</FONT></DIV>
<DIV><FONT face=Arial size=2></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial size=2>Kris</FONT></DIV>
<BLOCKQUOTE 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"><BR>&nbsp;</DIV>
<TABLE cellSpacing=0 cellPadding=0 border=0>
<TBODY>
<TR>
<TD vAlign=top>
<DIV>&nbsp;</DIV>
<DIV>Not that I know every guitarist out there, but do you mean Joe Morris instead of John Morris, Kris?</DIV>
<DIV>&nbsp;</DIV>
<DIV>Joe Morris certainly kicks ass - double threat as guitarist and bassist.</DIV>
<DIV><BR>&nbsp;</DIV>
<DIV>It is very good, but doesn't do what Interstellar Space does for me.&nbsp; And<BR>clearly (with no disrespect to Nels, but more of a comment about the sheer<BR>genius of Coltane), Nels' articulation on the guitar does not match<BR>Coltrane's articulation and mastery of the sax.&nbsp; Again, I don't think<BR>anyone would deny that without underestimating Coltrane.<BR><BR>I don't know much about Nels Cline, and have not listened to all of his<BR>material. All of it is very good from what I have heard. I like the tracks on<BR>the CD where he is playing clean, more than those where he has the shreader<BR>guitar tone.&nbsp; The massive distortion gets on my nerves after a while.<BR><BR>I would like to hear John Morris (guitar) and Billy Kilson (drum) doing their<BR>take of Interstellar Space.&nbsp; I saw Billy Kilson with Dave Holland a few years<BR>ago, and was blown away. I have never seen a jazz drummer play with such energy<BR>and speed.&nbsp; And of
 course, Morris that raw jazz tone that do well with a homage<BR>to Interstellar Space.<BR><BR>Kris<BR><BR>----- Original Message ----- <BR>&gt; I think it fully earns the title. I find it pretty incredible. I'd be<BR>curious to hear your reaction.<BR>&gt; <BR>&gt; Gorgeous version of "Lonnie's Lament" on it, too, after all<BR>the chaos.<BR>&gt; <BR>&gt; Daryl Shawn<BR>&gt; www.swanwelder.com<BR>&gt; www.chinapaintingmusic.com<BR>&gt; <BR>&gt;&gt; I was not aware of this CD with Nels. I will have to check it out. The<BR>question is, does it earn the title of Interstellar Space Revisited? That album<BR>of Coltrane's is insurpassable, allowing only remote approximations to its<BR>level.<BR>&gt;&gt; <BR>&gt;&gt; Kris<BR>&gt;&gt; <BR>&gt;&gt; <BR>&gt;&gt;&gt; Nels Cline and Gregg Bendian's "Interstellar Space<BR>Revisited" is a superb reworking of Coltrane and Ali's masterpiece.<BR>&gt; <BR>&gt;
 <BR><BR></DIV></TD></TR></TBODY></TABLE><BR></BLOCKQUOTE></DIV></BLOCKQUOTE></td></tr></table><br>

      
--0-1883242502-1229710261=:5217--

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On 19 Dec 2008, at 06:54, Tilmann Dehnhard wrote:

> friends i charge the rounded sum i pay for it myself, depending on  
> the label thats 5 or 10 euro.
> in concerts i sell for 15 euro.i found out that to most people who  
> actually buy a cd the price is not really an issue.
> meaning: even if i sell them for ten, the same amount of people are  
> gonna buy them.
>
yeah, thats in rich europe!
here in Brasil the pirated ones are sold for 2$, so if you charge more  
than 5$ at the concert, people complain
and most really dont have such amounts of money spare in the pocket
as a result, friends create CDs with less music and a simple cardboard  
envelope to save production costs...
... and I stopped selling CDs :-(

Matthias
>
> tilmann
>>> A quick question for those among you who sell CDs in a way that you
>>> have direct control of the end price to the customer:
>>>
>>> What do you usually charge for a CD (physical medium, not  
>>> downloads),
>>> a) when sold at your concerts,
>>> b) other means of distribution (e.g. mail order).
>>>
>>> Thanks,
>>>
>>>             Rainer
>>>

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did you try Amadeus?
I never used Sound Forge, but I prefer Amadeus over Peak for stereo  
edit/conversion...

On 19 Dec 2008, at 13:36, Per Boysen wrote:

> Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came
> for Mac SoundForge is the last Windows application I have not found a
> Mac equivalent to. There's Peak and Wavelab for Mac but neither of
> them is as fast and simple as SoundForge, IMHO.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke <jeff_d@embarqmail.com>  
> wrote:
>> Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum  
>> and I can
>> use stills also. I have alot to learn with it. It's really deeper  
>> than I
>> care to go but it does work well with Sony Sound Forge. All pc but  
>> similar
>> capabilities perhaps.
>

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Great post,Bill. =20

I can't say for certain, but the tilting point for me choosing to use =
and play with less distortion, was after I got into more genres (jazz, =
country, bluegrass, worldbeat, etc) that used more clean tones, and it =
occurred to me that distortion or high gain can easily be used as a =
articulation crutch. It did not take me long to realize that, given any =
prior, rippin' solo I had done using high gain and distortion, during my =
fusion/hard rock/progressive rock days, if I had tried to articulate the =
same or similar solo using a clean tone, it sounded like crap, sloppy, =
etc. I realized how much I was relying gain to play fast and still sound =
good.  And I have tested this with guitarists...someone will play a =
really fast and impressive solo, and then I ask them to turn to the =
clean channel, and the result is, most of the time, not good.  With high =
gain, you have this amazing compression and sensitivity of the strings =
that allows you to play very fast and fluid...mistakes in articulation =
are sort of "smoothed" over so that they aren't apparent.  In fact, I =
recall not even having to use a pick. With that much gain, you can =
basically finger the runs, using hammer ons and pull offs, and it still =
doesn't sound have bad. =20

Now, I am only speaking for myself here and not saying that anyone who =
uses a lot of gain is using it as a crutch. That would be an unfair =
assumption.  I am not trying to start a flame war here to slam those =
guitarists who like to use a lot o again. But I am stating what I think =
is a fact about what high gain allows you to do on the guitar because of =
the compression, overtones, sensitivity, etc, vs. if you were playing =
clean. And for me, it started to feel like cheating and forced me to =
start practicing the guitar clean, to see what I was really capable of =
in terms of my articulation and control of the instrument. The =
guitarists that really gain (no pun intended) my respect are those who =
can go back and forth and still main their articulation - Nels, for =
instance, but also many others, like Metheny, Fripp, Mclaughlin, Beck, =
and many others.   That is why I promote students to start with the =
acoustic guitar and gain a level of mastery on it before moving to the =
electric and a lot of distortion.  In fact, my father never let me buy =
an electric guitar and amp, until I had taken a few years of classical =
guitar lessons and proved that I could play a handful of songs with just =
the acoustic guitar, with no aid of technology. I suspect that has =
molded my outlook on this a bit.  It was as if I heard to earn the right =
to play an electric guitar and take advantage of all that technology, =
effects, etc. =20

Kris


  ----- Original Message -----=20

  "The massive distortion gets on my nerves after a while"

  I agree Krispen, I find that the distortion tone is often times the =
make or break point  for me, of whether an artist really  speaks to me, =
or not. Using distortion for many guitarists represents their lead =
voice, and in a way it's analogues to what a sax player develops,  when =
choosing an instrument, thickness of reeds, and embouchure.  Nels Kline =
has a great sense of effects application, and at the same time his heavy =
distortion sounds  can get pretty abrasive to my ears. Which I'm sure is =
the point. As they say one man's pudding is another man's poison. Give =
me a Scott Henderson, David Gilmour, Carlos Santana or Jeff  Beck any =
day of the week as their tones are always stellar. I think the danger =
with heavy distortion is that it can obscure a players personality and =
rob them of  dynamic range, not to mention making for a muddy sometimes =
indistinct tone.  I also realize that when you are trying to create =
sonic mayhem, distortion and fuzz can be your best friends.=20

  [snip]



  Bill

  =20


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

  From: Krispen Hartung [mailto:info@krispenhartung.com]=20
  Sent: Thursday, December 18, 2008 4:37 PM
  To: Loopers-Delight@loopers-delight.com
  Subject: Re: One Guitarist, One Drummer was: Altered Tunings

  =20

  Heh heh...yes. Sorry. John Morris is someone I work with. That was a =
habit based typo. :)  I meant Joe.  Damn, good catch!  No one else got =
that?

  =20

  Kris


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<DIV><FONT face=3DArial size=3D2>Great post,Bill.&nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I can't say for certain, but the =
tilting point for=20
me choosing to use and play with less distortion, was after I got into =
more=20
genres (jazz, country, bluegrass, worldbeat, etc) that used more clean =
tones,=20
and it occurred to me that distortion or high gain can easily be used as =
a=20
articulation crutch. It did not take me long to realize that, given any =
prior,=20
rippin' solo I had done using high gain and distortion, during my =
fusion/hard=20
rock/progressive rock days, if I had tried to articulate the same or =
similar=20
solo using a clean tone, it sounded like crap, sloppy, etc. I realized =
how much=20
I was relying gain to play fast and still sound good.&nbsp; And I have =
tested=20
this with guitarists...someone will play a really fast and impressive =
solo, and=20
then I ask them to turn to the clean channel, and the result is, most of =
the=20
time, not good.&nbsp; With high gain, you have this amazing compression =
and=20
sensitivity of the strings that allows you to play very fast and=20
fluid...mistakes in articulation are sort of "smoothed" over so that =
they aren't=20
apparent.&nbsp; In fact, I recall not even having to use a pick. With =
that much=20
gain, you can basically finger the runs, using hammer ons and pull offs, =
and it=20
still doesn't sound have bad.&nbsp; </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Now, I am only speaking for myself here =
and not=20
saying that anyone who uses a lot of gain is using it as a crutch. That =
would be=20
an unfair assumption.&nbsp; I am not trying to start a flame war here to =
slam=20
those guitarists who like to use a lot o again. But I am stating what I =
think is=20
a fact about what high gain allows you to do on the guitar because of =
the=20
compression, overtones, sensitivity, etc, vs. if you were playing clean. =
And for=20
me, it started to feel like cheating and forced me to start practicing =
the=20
guitar clean, to see what I was really capable of in terms of my =
articulation=20
and control of the instrument. The guitarists that really gain (no pun =
intended)=20
my respect are those&nbsp;who can go back and forth and still main their =

articulation - Nels, for instance, but also many others, like Metheny, =
Fripp,=20
Mclaughlin, Beck, and many others.&nbsp;&nbsp; That is why I promote =
students to=20
start with the acoustic guitar and gain a level of mastery on it before =
moving=20
to the electric and a lot of distortion.&nbsp; In fact, my father never =
let me=20
buy an electric guitar and amp, until I had taken a few years of =
classical=20
guitar lessons and proved that I could play a handful of songs with just =
the=20
acoustic guitar, with no aid of technology. I suspect that has molded my =
outlook=20
on this a bit.&nbsp; It was as if I heard to earn the right to play an =
electric=20
guitar and take advantage of all that technology, effects, etc.&nbsp;=20
</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>
<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 style=3D"BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><FONT=20
  face=3DArial size=3D2></FONT>&nbsp;</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">=93</SPAN></FONT>The=20
  massive distortion gets on my nerves after a while=94<o:p></o:p></P>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">I agree Krispen, I find that the distortion =
tone is=20
  often times the make or break point &nbsp;for me, of whether an artist =

  really&nbsp; speaks to me, or not. Using distortion for many =
guitarists=20
  represents their lead voice, and in a way it=92s analogues to what a =
sax player=20
  develops, &nbsp;when choosing an instrument, thickness of reeds, and=20
  embouchure. &nbsp;Nels Kline has a great sense of effects application, =
and at=20
  the same time his heavy distortion sounds &nbsp;can get pretty =
abrasive to my=20
  ears. Which I=92m sure is the point. As they say one man=92s pudding =
is another=20
  man=92s poison. Give me a Scott Henderson, David Gilmour, Carlos =
Santana or Jeff=20
  &nbsp;Beck any day of the week as their tones are always stellar. I =
think the=20
  danger with heavy distortion is that it can obscure a players =
personality and=20
  rob them of &nbsp;dynamic range, not to mention making for a muddy =
sometimes=20
  indistinct tone. &nbsp;I also realize that when you are trying to =
create sonic=20
  mayhem, distortion and fuzz can be your best friends. =
</SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">[snip]</SPAN></FONT></P>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt"><o:p></o:p></SPAN></FONT>&nbsp;</P>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">Bill<o:p></o:p></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"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <DIV>
  <DIV class=3DMsoNormal style=3D"TEXT-ALIGN: center" =
align=3Dcenter><FONT=20
  face=3D"Times New Roman" size=3D3><SPAN style=3D"FONT-SIZE: 12pt">
  <HR tabIndex=3D-1 align=3Dcenter width=3D"100%" SIZE=3D2>
  </SPAN></FONT></DIV>
  <P class=3DMsoNormal><B><FONT face=3DTahoma size=3D2><SPAN=20
  style=3D"FONT-WEIGHT: bold; FONT-SIZE: 10pt; FONT-FAMILY: =
Tahoma">From:</SPAN></FONT></B><FONT=20
  face=3DTahoma size=3D2><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Tahoma">=20
  <st1:PersonName w:st=3D"on">Krispen Hartung</st1:PersonName>=20
  [mailto:info@krispenhartung.com] <BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Sent:</SPAN></B> Thursday, December 18, =
2008 4:37=20
  PM<BR><B><SPAN style=3D"FONT-WEIGHT: =
bold">To:</SPAN></B><st1:PersonName=20
  w:st=3D"on"> =
Loopers-Delight@loopers-delight.com</st1:PersonName><BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Subject:</SPAN></B> Re: One Guitarist, One =
Drummer=20
  was: Altered Tunings</SPAN></FONT><o:p></o:p></P></DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt"><o:p>&nbsp;</o:p></SPAN></FONT></P>
  <DIV>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Heh heh...yes. Sorry. =
John Morris=20
  is someone I work with. That was a habit based typo. :)&nbsp; I meant=20
  Joe.&nbsp; Damn, good catch!&nbsp; No one else got=20
  that?</SPAN></FONT><o:p></o:p></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3D"Times New Roman" size=3D3><SPAN=20
  style=3D"FONT-SIZE: 12pt">&nbsp;<o:p></o:p></SPAN></FONT></P></DIV>
  <DIV>
  <P class=3DMsoNormal><FONT face=3DArial size=3D2><SPAN=20
  style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial">Kris</SPAN></FONT><o:p></o:p></P></DIV>
  <BLOCKQUOTE=20
  style=3D"BORDER-RIGHT: medium none; PADDING-RIGHT: 0in; BORDER-TOP: =
medium none; PADDING-LEFT: 5pt; PADDING-BOTTOM: 0in; MARGIN: 5pt 0in 5pt =
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medium none">
    <DIV><FONT face=3DArial=20
size=3D2></FONT>&nbsp;</DIV></BLOCKQUOTE></DIV></BLOCKQUOTE></BODY></HTML=
>

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Subject: Re: RC-20XL Live vs. other loopers
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Hi Karl

> As soon as I press "Write" to
> save the first phrase before going onto the second, the phrase stops!
Welcome to Boss' looping logic! ;-)

Yes, the RC-20/50 have this problem. Not a useful feature. I believe the Repeater would work the way you anticipated. What you can do on the RC-50: You can use 3 phrases in SINGLE mode. So you have 3 stereo phrases you can switch back and forth.

Check also Per's list for comparison of various looper features:
http://www.looproom.com/looperchart.php

Have fun looping!

Buzap 


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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 21:34:15 2008
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Date: Fri, 19 Dec 2008 13:34:13 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Maybe, but it'd probably also sound not so impressive if you'd mic'ed the
guitar and not recorded the amp--but that's not the context it was created
in nor intended to be consumed.  Listeners (other than other guitarists...)
don't really care how difficult it was for you to make the sound, just that
it touches them.
People who can really well with a clean tone are often lost in a high-gain
situation too.  Learning to control a high-gain guitar rig takes work, it's
a different, but related technique to playing undistorted guitar.

TH

On Fri, Dec 19, 2008 at 1:00 PM, Krispen Hartung <info@krispenhartung.com>wrote:

>  It did not take me long to realize that, given any prior, rippin' solo I
> had done using high gain and distortion, during my fusion/hard
> rock/progressive rock days, if I had tried to articulate the same or similar
> solo using a clean tone, it sounded like crap, sloppy, etc. I realized how
> much I was relying gain to play fast and still sound good.
>

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Maybe, but it&#39;d probably also sound not so impressive if you&#39;d mic&#39;ed the guitar and not recorded the amp--but that&#39;s not the context it was created in nor intended to be consumed. &nbsp;Listeners (other than other guitarists...) don&#39;t really care how difficult it was for you to make the sound, just that it touches them.<div>
<br><div>People who can really well with a clean tone are often lost in a high-gain situation too. &nbsp;Learning to control a high-gain guitar rig takes work, it&#39;s a different, but related technique to playing undistorted guitar.</div>
<div><br></div><div>TH<br><br><div class="gmail_quote">On Fri, Dec 19, 2008 at 1:00 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">






<div lang="EN-US" vlink="purple" link="blue" bgcolor="white">
<div><span class="Apple-style-span" style="font-family: Arial; ">It did not take me long to realize that, given any prior, 
rippin&#39; solo I had done using high gain and distortion, during my fusion/hard 
rock/progressive rock days, if I had tried to articulate the same or similar 
solo using a clean tone, it sounded like crap, sloppy, etc. I realized how much 
I was relying gain to play fast and still sound good. &nbsp;</span></div></div></blockquote></div></div></div>

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Honestly, after hearing a piece of music a few times I just start  
caring about which notes are used and the tone concern fades away.

t




On Dec 19, 2008, at 1:34 PM, Travis Hartnett  
<travishartnett@gmail.com> wrote:

> Maybe, but it'd probably also sound not so impressive if you'd  
> mic'ed the guitar and not recorded the amp--but that's not the  
> context it was created in nor intended to be consumed.  Listeners  
> (other than other guitarists...) don't really care how difficult it  
> was for you to make the sound, just that it touches them.
>
> People who can really well with a clean tone are often lost in a  
> high-gain situation too.  Learning to control a high-gain guitar rig  
> takes work, it's a different, but related technique to playing  
> undistorted guitar.
>
> TH
>
> On Fri, Dec 19, 2008 at 1:00 PM, Krispen Hartung <info@krispenhartung.com 
> > wrote:
> It did not take me long to realize that, given any prior, rippin'  
> solo I had done using high gain and distortion, during my fusion/ 
> hard rock/progressive rock days, if I had tried to articulate the  
> same or similar solo using a clean tone, it sounded like crap,  
> sloppy, etc. I realized how much I was relying gain to play fast and  
> still sound good.

--Boundary_(ID_GDbhxFQUbdO9Zhh7GRlKYA)
Content-type: text/html; charset=utf-8
Content-transfer-encoding: 7BIT

<html><body bgcolor="#FFFFFF"><div>Honestly, after hearing a piece of music a few times I just start caring about which notes are used and the tone concern fades away.&nbsp;</div><div><br></div><div>t</div><div><br><br><div><br class="webkit-block-placeholder"></div></div><div><br>On Dec 19, 2008, at 1:34 PM, Travis Hartnett &lt;<a href="mailto:travishartnett@gmail.com">travishartnett@gmail.com</a>> wrote:<br><br></div><div></div><blockquote type="cite"><div>Maybe, but it'd probably also sound not so impressive if you'd mic'ed the guitar and not recorded the amp--but that's not the context it was created in nor intended to be consumed. &nbsp;Listeners (other than other guitarists...) don't really care how difficult it was for you to make the sound, just that it touches them.<div>
<br><div>People who can really well with a clean tone are often lost in a high-gain situation too. &nbsp;Learning to control a high-gain guitar rig takes work, it's a different, but related technique to playing undistorted guitar.</div>
<div><br></div><div>TH<br><br><div class="gmail_quote">On Fri, Dec 19, 2008 at 1:00 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com"><a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a></a>></span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">






<div lang="EN-US" vlink="purple" link="blue" bgcolor="white">
<div><span class="Apple-style-span" style="font-family: Arial; ">It did not take me long to realize that, given any prior, 
rippin' solo I had done using high gain and distortion, during my fusion/hard 
rock/progressive rock days, if I had tried to articulate the same or similar 
solo using a clean tone, it sounded like crap, sloppy, etc. I realized how much 
I was relying gain to play fast and still sound good. &nbsp;</span></div></div></blockquote></div></div></div>
</div></blockquote></body></html>

--Boundary_(ID_GDbhxFQUbdO9Zhh7GRlKYA)--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 22:17:01 2008
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Subject: Free windows software loopers
Date: Fri, 19 Dec 2008 16:16:56 -0600
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I'm running vista and wanted to experiment with free software loopers.  =
I did a search in the archives and it's not coming up.  Any thoughts or =
recommendations?  I'll keep trying to figure out why the archive search =
isn't returning anything.

peace~
plish
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I'm running vista and wanted to =
experiment with=20
free software loopers.&nbsp; I did a search in the archives and it's not =
coming=20
up.&nbsp; Any thoughts or recommendations?&nbsp; I'll keep trying to =
figure out=20
why the archive search isn't returning anything.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>peace~</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>plish</FONT></DIV></BODY></HTML>

------=_NextPart_000_0048_01C961F5.36710C70--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 22:58:15 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Yes, I understand where you are coming from, and they seem like  valid =
points.  Though the points I made still stand true to my own evolution =
as a guitarist.  High gain generated an elusion of technicality that =
could not be re-produced with clean tone, regardless of who it touched, =
whether it was miced, or any of the separate skills required to play the =
electric with high gain (which I fully understand, having played the =
electric for almost 30 years). And I am sure I can sit down with 10 =
young bucks walking on the streat who play screamin' licks on the =
electric, and test my theory with a clean tone.    /K
  ----- Original Message -----=20


  Maybe, but it'd probably also sound not so impressive if you'd mic'ed =
the guitar and not recorded the amp--but that's not the context it was =
created in nor intended to be consumed.  Listeners (other than other =
guitarists...) don't really care how difficult it was for you to make =
the sound, just that it touches them.


  People who can really well with a clean tone are often lost in a =
high-gain situation too.  Learning to control a high-gain guitar rig =
takes work, it's a different, but related technique to playing =
undistorted guitar.


  TH


  On Fri, Dec 19, 2008 at 1:00 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    It did not take me long to realize that, given any prior, rippin' =
solo I had done using high gain and distortion, during my fusion/hard =
rock/progressive rock days, if I had tried to articulate the same or =
similar solo using a clean tone, it sounded like crap, sloppy, etc. I =
realized how much I was relying gain to play fast and still sound good.  
------=_NextPart_000_021C_01C961F2.9850ECB0
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Yes, I understand where you are coming =
from, and=20
they seem like&nbsp; valid points.&nbsp; Though the points I made still =
stand=20
true to my own evolution as a guitarist.&nbsp; High gain generated an =
elusion of=20
technicality that could not be re-produced with clean tone, regardless=20
of&nbsp;who it touched, whether it was miced, or any of the separate =
skills=20
required to play the electric with high gain&nbsp;(which I fully =
understand,=20
having played the electric for almost 30 years). And I am sure I can sit =
down=20
with 10 young bucks walking on the streat who&nbsp;play screamin' licks =
on the=20
electric, and test my theory with a clean&nbsp;tone. &nbsp;&nbsp;=20
/K</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"><BR>&nbsp;</DIV>Maybe,=20
  but it'd probably also sound not so impressive if you'd mic'ed the =
guitar and=20
  not recorded the amp--but that's not the context it was created in nor =

  intended to be consumed. &nbsp;Listeners (other than other =
guitarists...)=20
  don't really care how difficult it was for you to make the sound, just =
that it=20
  touches them.
  <DIV><BR>
  <DIV>People who can really well with a clean tone are often lost in a=20
  high-gain situation too. &nbsp;Learning to control a high-gain guitar =
rig=20
  takes work, it's a different, but related technique to playing =
undistorted=20
  guitar.</DIV>
  <DIV><BR></DIV>
  <DIV>TH<BR><BR>
  <DIV class=3Dgmail_quote>On Fri, Dec 19, 2008 at 1:00 PM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
    <DIV lang=3DEN-US bgcolor=3D"white" link=3D"blue" vlink=3D"purple">
    <DIV><SPAN class=3DApple-style-span style=3D"FONT-FAMILY: Arial">It =
did not take=20
    me long to realize that, given any prior, rippin' solo I had done =
using high=20
    gain and distortion, during my fusion/hard rock/progressive rock =
days, if I=20
    had tried to articulate the same or similar solo using a clean tone, =
it=20
    sounded like crap, sloppy, etc. I realized how much I was relying =
gain to=20
    play fast and still sound good.=20
  =
&nbsp;</SPAN></DIV></DIV></BLOCKQUOTE></DIV></DIV></DIV></BLOCKQUOTE></BO=
DY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 23:02:00 2008
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Subject: Re: Free windows software loopers
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Try this list.

http://www.krispenhartung.com/software-looping.htm

There are a handful of free loopers on this site.

Kris

  ----- Original Message -----=20


  I'm running vista and wanted to experiment with free software loopers. =
 I did a search in the archives and it's not coming up.  Any thoughts or =
recommendations?  I'll keep trying to figure out why the archive search =
isn't returning anything.

  peace~
  plish
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Try this list.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.krispenhartung.com/software-looping.htm">http://www.kr=
ispenhartung.com/software-looping.htm</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>There are a handful of free loopers on =
this=20
site.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV>&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><FONT face=3DArial size=3D2>I'm running vista and wanted to =
experiment with=20
  free software loopers.&nbsp; I did a search in the archives and it's =
not=20
  coming up.&nbsp; Any thoughts or recommendations?&nbsp; I'll keep =
trying to=20
  figure out why the archive search isn't returning =
anything.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>peace~</FONT></DIV>
  <DIV><FONT face=3DArial =
size=3D2>plish</FONT></DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 19 23:04:31 2008
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Subject: Re: Free windows software loopers
Date: Fri, 19 Dec 2008 17:04:25 -0600
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Thanks Kris!  The search kept timing out.

~peace~
plish
  ----- Original Message -----=20
  From: Krispen Hartung=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 19, 2008 5:01 PM
  Subject: Re: Free windows software loopers


  Try this list.

  http://www.krispenhartung.com/software-looping.htm

  There are a handful of free loopers on this site.

  Kris

    ----- Original Message -----=20

    =20
    I'm running vista and wanted to experiment with free software =
loopers.  I did a search in the archives and it's not coming up.  Any =
thoughts or recommendations?  I'll keep trying to figure out why the =
archive search isn't returning anything.

    peace~
    plish
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Thanks Kris!&nbsp; The search kept =
timing=20
out.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>~peace~<BR>plish</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=3Dinfo@krispenhartung.com =
href=3D"mailto:info@krispenhartung.com">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> Friday, December 19, 2008 =
5:01=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Free windows =
software=20
  loopers</DIV>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>Try this list.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><A=20
  =
href=3D"http://www.krispenhartung.com/software-looping.htm">http://www.kr=
ispenhartung.com/software-looping.htm</A></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>There are a handful of free loopers =
on this=20
  site.</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
  <DIV>&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><FONT face=3DArial size=3D2>I'm running vista and wanted to =
experiment with=20
    free software loopers.&nbsp; I did a search in the archives and it's =
not=20
    coming up.&nbsp; Any thoughts or recommendations?&nbsp; I'll keep =
trying to=20
    figure out why the archive search isn't returning =
anything.</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>peace~</FONT></DIV>
    <DIV><FONT face=3DArial=20
size=3D2>plish</FONT></DIV></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

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Date: Fri, 19 Dec 2008 15:34:02 -0800
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To: Loopers-Delight@loopers-delight.com
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Yeah, but you probably also can't play your articulate clean ideas with much
heavier strings and higher action than you're currently using--does that
mean that your current instrument setup (whatever it might be) is generating
an illusion of technique?  I don't think so.
Whatever tools make it easiest to produce your desired end result, by all
means, use those, but the whole "make the young bucks play through a clean
amp" thing doesn't make sense to me.  Is anyone surprised when that sort of
playing doesn't sound great through the wrong amp settings?

TH


On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung <info@krispenhartung.com>wrote:

>  Yes, I understand where you are coming from, and they seem like  valid
> points.  Though the points I made still stand true to my own evolution as a
> guitarist.  High gain generated an elusion of technicality that could not be
> re-produced with clean tone, regardless of who it touched, whether it was
> miced, or any of the separate skills required to play the electric with high
> gain (which I fully understand, having played the electric for almost 30
> years). And I am sure I can sit down with 10 young bucks walking on the
> streat who play screamin' licks on the electric, and test my theory with a
> clean tone.    /K
>

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Yeah, but you probably also can&#39;t play your articulate clean ideas with much heavier strings and higher action than you&#39;re currently using--does that mean that your current instrument setup (whatever it might be) is generating an illusion of technique? &nbsp;I don&#39;t think so. &nbsp;<div>
<br></div><div>Whatever tools make it easiest to produce your desired end result, by all means, use those, but the whole &quot;make the young bucks play through a clean amp&quot; thing doesn&#39;t make sense to me. &nbsp;Is anyone surprised when that sort of playing doesn&#39;t sound great through the wrong amp settings?</div>
<div><br></div><div>TH</div><div><br><br><div class="gmail_quote">On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">





<div bgcolor="#ffffff">
<div><font face="Arial" size="2">Yes, I understand where you are coming from, and 
they seem like&nbsp; valid points.&nbsp; Though the points I made still stand 
true to my own evolution as a guitarist.&nbsp; High gain generated an elusion of 
technicality that could not be re-produced with clean tone, regardless 
of&nbsp;who it touched, whether it was miced, or any of the separate skills 
required to play the electric with high gain&nbsp;(which I fully understand, 
having played the electric for almost 30 years). And I am sure I can sit down 
with 10 young bucks walking on the streat who&nbsp;play screamin&#39; licks on the 
electric, and test my theory with a clean&nbsp;tone. &nbsp;&nbsp; 
/K</font></div></div></blockquote></div></div>

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From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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There's a difference between an improper or inappropriate setup and poor te=
chnique. Poor technique can be revealed instantly by turning off the fuzz b=
ox. And if you never turn off the fuxx to practise, your technique won't ge=
t better any time soon. I say this from experience.=0A=0AI would agree with=
 an earlier poster that controlling a high-gain rig is a different skill se=
t. But it's also one that is much easier to learn than learning how to arti=
culate your notes at speed.=0A=0AAnyone want to buy my ADA MP-1? I'm the or=
iginal owner...=0A=0A=0A=0A________________________________=0AFrom: Travis =
Hartnett <travishartnett@gmail.com>=0ATo: Loopers-Delight@loopers-delight.c=
om=0ASent: Friday, December 19, 2008 3:34:02 PM=0ASubject: Re: distortion, =
overdrive,fuzz,crunch,special sauce, secret goo=0A=0AYeah, but you probably=
 also can't play your articulate clean ideas with much heavier strings and =
higher action than you're currently using--does that mean that your current=
 instrument setup (whatever it might be) is generating an illusion of techn=
ique? =A0I don't think so. =A0 =0A=0AWhatever tools make it easiest to prod=
uce your desired end result, by all means, use those, but the whole "make t=
he young bucks play through a clean amp" thing doesn't make sense to me. =
=A0Is anyone surprised when that sort of playing doesn't sound great throug=
h the wrong amp settings?=0A=0ATH=0A=0A=0A=0AOn Fri, Dec 19, 2008 at 2:58 P=
M, Krispen Hartung <info@krispenhartung.com> wrote:=0A=0AYes, I understand =
where you are coming from, and they seem like=A0 valid points.=A0 Though th=
e points I made still stand true to my own evolution as a guitarist.=A0 Hig=
h gain generated an elusion of technicality that could not be re-produced w=
ith clean tone, regardless of=A0who it touched, whether it was miced, or an=
y of the separate skills required to play the electric with high gain=A0(wh=
ich I fully understand, having played the electric for almost 30 years). An=
d I am sure I can sit down with 10 young bucks walking on the streat who=A0=
play screamin' licks on the electric, and test my theory with a clean=A0ton=
e. =A0=A0 /K=0A=0A=0A      
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<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-family:times new roman, new york, times, serif;font-size:12pt"><DIV>There's a difference between an improper or inappropriate setup and poor technique. Poor technique can be revealed instantly by turning off the fuzz box. And if you never turn off the fuxx to practise, your technique won't get better any time soon. I say this from experience.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I would agree with an earlier poster that controlling a high-gain rig is a different skill set. But it's also one that is much easier to learn than learning how to articulate your notes at speed.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Anyone want to buy my ADA MP-1? I'm the original owner...</DIV>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><BR>
<DIV style="FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, times, serif"><FONT face=Tahoma size=2>
<HR SIZE=1>
<B><SPAN style="FONT-WEIGHT: bold">From:</SPAN></B> Travis Hartnett &lt;travishartnett@gmail.com&gt;<BR><B><SPAN style="FONT-WEIGHT: bold">To:</SPAN></B> Loopers-Delight@loopers-delight.com<BR><B><SPAN style="FONT-WEIGHT: bold">Sent:</SPAN></B> Friday, December 19, 2008 3:34:02 PM<BR><B><SPAN style="FONT-WEIGHT: bold">Subject:</SPAN></B> Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo<BR></FONT><BR>Yeah, but you probably also can't play your articulate clean ideas with much heavier strings and higher action than you're currently using--does that mean that your current instrument setup (whatever it might be) is generating an illusion of technique? &nbsp;I don't think so. &nbsp;
<DIV><BR></DIV>
<DIV>Whatever tools make it easiest to produce your desired end result, by all means, use those, but the whole "make the young bucks play through a clean amp" thing doesn't make sense to me. &nbsp;Is anyone surprised when that sort of playing doesn't sound great through the wrong amp settings?</DIV>
<DIV><BR></DIV>
<DIV>TH</DIV>
<DIV><BR><BR>
<DIV class=gmail_quote>On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung <SPAN dir=ltr>&lt;<A href="mailto:info@krispenhartung.com" target=_blank rel=nofollow ymailto="mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</SPAN> wrote:<BR>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<DIV>
<DIV><FONT face=Arial size=2>Yes, I understand where you are coming from, and they seem like&nbsp; valid points.&nbsp; Though the points I made still stand true to my own evolution as a guitarist.&nbsp; High gain generated an elusion of technicality that could not be re-produced with clean tone, regardless of&nbsp;who it touched, whether it was miced, or any of the separate skills required to play the electric with high gain&nbsp;(which I fully understand, having played the electric for almost 30 years). And I am sure I can sit down with 10 young bucks walking on the streat who&nbsp;play screamin' licks on the electric, and test my theory with a clean&nbsp;tone. &nbsp;&nbsp; /K</FONT></DIV></DIV></BLOCKQUOTE></DIV></DIV></DIV></DIV></div><br>



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  Yeah, but you probably also can't play your articulate clean ideas =
with much heavier strings and higher action than you're currently using

  Yes, I also can't articulate my clean ideas as well with a bass guitar =
or a lute. What is the point?   Pick any electric guitar that is setup =
the way you like. Play it clean, play it with lots of gain. That is the =
context I am working with here.  Test it. Test others. See how often the =
hypothesis is true.=20

  --does that mean that your current instrument setup (whatever it might =
be) is generating an illusion of technique?  I don't think so.=20

  No. In the case you bring up, the unusual string gauge and action is =
just hindering me. Use the strings and action you are comfortable with, =
then let the tests begin. Technique is technique. Create a level playing =
field, and then you can either play the notes fluidly and with accuracy, =
or you can't.  A lot of distortion may in fact conceal this on some =
cases, but it doesn't change the fact.  I can pickup an electric with =
high gain and race up and down the neck with arpeggios, in that classic =
Malmsteen or Paul Gilbert fashion. I can do this as fast as I can and it =
sounds fairly fluid, but I can't turn around and do it on the electric =
with a clean tone. I have to slow down and maintain more control over my =
instrument.  The high gain, compression, and ultra sensitivity allows a =
lot of things that one couldn't ordinarily do with a clean tone while =
sounding just as controlled and articulate. I'm really not saying much =
more than that here.=20


  Whatever tools make it easiest to produce your desired end result, by =
all means, use those, but the whole "make the young bucks play through a =
clean amp" thing doesn't make sense to me.  Is anyone surprised when =
that sort of playing doesn't sound great through the wrong amp settings? =
 =20

  Wrong amp settings? What does that mean? I am not talking about what =
sounds "great" or "good", or what is "wrong" or "right". This is purely =
a matter of technicality, and I dare not introduce what "sounds good" =
into the conversation, because that is an entirely different and =
subjective matter regarding taste.  I am talking about pure physical =
technicality and the raw ability to create notes with accuracy and =
fluidity with a clean vs. high gain tone.  You can perform the test with =
any guitar or amp. Doesn't matter to me.  And the easiest test to =
perform is to have someone (could be yourself as well) who is very good =
at playing fast and seemingly articulate on an electric with high gain, =
and then see if they can do it with a clean tone. And it can be the =
clean tone of their preference, with the guitar and amp of their =
preference. It is a basic test.   I performed it on myself, and could =
not play the same thing with a clean tone. There is nothing wrong with =
that. It just means that I am taking advantage of the high gain to do =
things I can't do on with a clean tone. It does not mean I am a bad =
player, though I can say that I have aspired now to be able to play only =
things that I "can" play with a clean tone, and that has made me a =
better player. Now when I go back to the electric, I am even more =
articulate. So, the crutch proved to be a useful tool.  It forced me to =
sit down for years with a clean tone and really gain control over my =
instrument....though I am still working on this and it is a lifelong =
process.


  K-



  On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    Yes, I understand where you are coming from, and they seem like  =
valid points.  Though the points I made still stand true to my own =
evolution as a guitarist.  High gain generated an elusion of =
technicality that could not be re-produced with clean tone, regardless =
of who it touched, whether it was miced, or any of the separate skills =
required to play the electric with high gain (which I fully understand, =
having played the electric for almost 30 years). And I am sure I can sit =
down with 10 young bucks walking on the streat who play screamin' licks =
on the electric, and test my theory with a clean tone.    /K
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<BLOCKQUOTE dir=3Dltr=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV>Yeah, but you probably also can't play your articulate clean =
ideas with=20
  much heavier strings and higher action than you're currently =
using</DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Yes, I also can't articulate =
my clean=20
  ideas as well with&nbsp;a bass guitar or a lute. What is the=20
  point?&nbsp;&nbsp; Pick any electric guitar that is setup the way you =
like.=20
  Play it clean, play it with lots of gain. That is the context I am =
working=20
  with here.&nbsp; Test it. Test others. See how often the hypothesis is =
true.=20
  </STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>--does that mean that your current instrument setup (whatever it =
might=20
  be) is generating an illusion of technique? &nbsp;I don't think so. =
</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><STRONG>No. In the case you bring up,&nbsp;the unusual string =
gauge and=20
  action&nbsp;is just hindering me. Use the strings and action you are=20
  comfortable with, then let the tests begin. Technique is technique. =
Create a=20
  level playing field, and then you&nbsp;can&nbsp;either play the notes =
fluidly=20
  and with accuracy,&nbsp;or you can't.&nbsp; A lot of distortion may in =
fact=20
  conceal this&nbsp;on some cases, but it doesn't change the fact.&nbsp; =
I can=20
  pickup an electric with high gain and race up and down the neck with=20
  arpeggios, in that classic Malmsteen or Paul Gilbert fashion. I can do =
this as=20
  fast as I can and it sounds fairly fluid, but I can't turn around and =
do it on=20
  the electric with a clean tone. I have to slow down and maintain more =
control=20
  over my instrument.&nbsp; The high gain, compression, and ultra =
sensitivity=20
  allows a lot of things that one couldn't ordinarily do with a clean =
tone while=20
  sounding just as controlled and articulate. I'm really not saying much =
more=20
  than that here. </STRONG></DIV>
  <DIV><BR></DIV>
  <DIV>Whatever tools make it easiest to produce your desired end =
result, by all=20
  means, use those, but the whole "make the young bucks play through a =
clean=20
  amp" thing doesn't make sense to me. &nbsp;Is anyone surprised when =
that sort=20
  of playing doesn't sound great through the wrong amp =
settings?&nbsp;&nbsp;=20
  </DIV>
  <DIV>&nbsp;</DIV>
  <DIV><STRONG>Wrong amp settings? What does that mean? I am not talking =
about=20
  what sounds "great" or "good", or what is "wrong" or "right". This is =
purely a=20
  matter of technicality, and I dare not introduce what "sounds good" =
into the=20
  conversation, because that is an entirely different and subjective =
matter=20
  regarding taste.&nbsp; I am talking about pure physical technicality =
and the=20
  raw ability to create notes with accuracy and fluidity with a clean =
vs. high=20
  gain tone.&nbsp; You can perform the test with any guitar or amp. =
Doesn't=20
  matter to me.&nbsp; And the easiest test to perform is to have someone =
(could=20
  be yourself as well) who is very good at playing fast and seemingly =
articulate=20
  on an electric with high gain, and then see if they can do it with a =
clean=20
  tone. And it can be the clean tone of their preference, with the =
guitar and=20
  amp of their preference. It is a basic test.&nbsp;&nbsp; I performed =
it on=20
  myself, and could not play the same thing with a clean tone. There is =
nothing=20
  wrong with that. It just means that I am taking advantage of the high =
gain to=20
  do things I can't do on with a clean tone. It does not mean I am a bad =
player,=20
  though I can say that I have aspired now to be able to play only =
things that I=20
  "can" play with&nbsp;a clean tone, and that has made me a better =
player. Now=20
  when I go back to the electric, I am even more articulate. So, the =
crutch=20
  proved to be a useful tool.&nbsp; It forced me to sit down for years =
with a=20
  clean tone and really gain control over my instrument....though I am =
still=20
  working on this and it is a lifelong process.</STRONG></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial =
size=3D2></FONT><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>K-</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT><BR><BR>
  <DIV class=3Dgmail_quote>On Fri, Dec 19, 2008 at 2:58 PM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
    <DIV bgcolor=3D"#ffffff">
    <DIV><FONT face=3DArial size=3D2>Yes, I understand where you are =
coming from,=20
    and they seem like&nbsp; valid points.&nbsp; Though the points I =
made still=20
    stand true to my own evolution as a guitarist.&nbsp; High gain =
generated an=20
    elusion of technicality that could not be re-produced with clean =
tone,=20
    regardless of&nbsp;who it touched, whether it was miced, or any of =
the=20
    separate skills required to play the electric with high =
gain&nbsp;(which I=20
    fully understand, having played the electric for almost 30 years). =
And I am=20
    sure I can sit down with 10 young bucks walking on the streat =
who&nbsp;play=20
    screamin' licks on the electric, and test my theory with a =
clean&nbsp;tone.=20
    &nbsp;&nbsp;=20
/K</FONT></DIV></DIV></BLOCKQUOTE></DIV></DIV></BLOCKQUOTE></BODY></HTML>=


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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <009701c961fd$46f43740$fe78a8c0@mpeserver>
Subject: Re: Google Friend Connect
Date: Fri, 19 Dec 2008 19:15:47 -0500
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I,m with ya Michael, I put one on my little homepage also, I too am not sure 
what to do with it but come and join me ya'll!
http://www.thisphase.org/jeffdukedotorg.html

Jeff

----- Original Message ----- 
From: "Michael Peters" <mp@mpeters.de>
To: "Loopers Delight" <Loopers-Delight@loopers-delight.com>; "CT-Collective" 
<Chain-Tape-Collective@yahoogroups.com>
Sent: Friday, December 19, 2008 12:14 PM
Subject: Google Friend Connect


>I can't say that I fully understand how this is going to work but it sounds
> like an intriguing idea ... I've added a Google Friend Connect widget to
> www.michaelpeters.de ... please come and link!
>
> -Michael
>


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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 00:16:41 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Fri, 19 Dec 2008 17:16:38 -0700
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----- Original Message -----=20

  There's a difference between an improper or inappropriate setup and =
poor technique. Poor technique can be revealed instantly by turning off =
the fuzz box. And if you never turn off the fuxx to practise, your =
technique won't get better any time soon. I say this from experience.

  Totally agreed. That is my main point.

  I would agree with an earlier poster that controlling a high-gain rig =
is a different skill set. But it's also one that is much easier to learn =
than learning how to articulate your notes at speed.

  Yes.

  Anyone want to buy my ADA MP-1? I'm the original owner...

  Great preamp, btw. I've owned several. I love the chorus on the =
classic MP-1.=20

  Kris




-------------------------------------------------------------------------=
-----
  From: Travis Hartnett <travishartnett@gmail.com>
  To: Loopers-Delight@loopers-delight.com
  Sent: Friday, December 19, 2008 3:34:02 PM
  Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret =
goo

  Yeah, but you probably also can't play your articulate clean ideas =
with much heavier strings and higher action than you're currently =
using--does that mean that your current instrument setup (whatever it =
might be) is generating an illusion of technique?  I don't think so.  =20


  Whatever tools make it easiest to produce your desired end result, by =
all means, use those, but the whole "make the young bucks play through a =
clean amp" thing doesn't make sense to me.  Is anyone surprised when =
that sort of playing doesn't sound great through the wrong amp settings?


  TH



  On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    Yes, I understand where you are coming from, and they seem like  =
valid points.  Though the points I made still stand true to my own =
evolution as a guitarist.  High gain generated an elusion of =
technicality that could not be re-produced with clean tone, regardless =
of who it touched, whether it was miced, or any of the separate skills =
required to play the electric with high gain (which I fully understand, =
having played the electric for almost 30 years). And I am sure I can sit =
down with 10 young bucks walking on the streat who play screamin' licks =
on the electric, and test my theory with a clean tone.    /K


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charset=3Diso-8859-1">
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<META content=3D"MSHTML 6.00.6000.16788" name=3DGENERATOR></HEAD>
<BODY bgColor=3D#ffffff>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV=20
  style=3D"FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, =
times, serif">
  <DIV>There's a difference between an improper or inappropriate setup =
and poor=20
  technique. Poor technique can be revealed instantly by turning off the =
fuzz=20
  box. And if you never turn off the fuxx to practise, your technique =
won't get=20
  better any time soon. I say this from experience.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Totally agreed. That is my =
main=20
  point.</STRONG></FONT></DIV>
  <DIV>&nbsp;</DIV>
  <DIV>I would agree with an earlier poster that controlling a high-gain =
rig is=20
  a different skill set. But it's also one that is much easier to learn =
than=20
  learning how to articulate your notes at speed.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Yes.</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>Anyone want to buy my ADA MP-1? I'm the original owner...</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Great preamp, btw. I've owned =
several. I=20
  love the chorus on the classic MP-1. </STRONG></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=20
  style=3D"FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, =
times, serif"><BR>
  <DIV=20
  style=3D"FONT-SIZE: 12pt; FONT-FAMILY: times new roman, new york, =
times, serif"><FONT=20
  face=3DTahoma size=3D2>
  <HR SIZE=3D1>
  <B><SPAN style=3D"FONT-WEIGHT: bold">From:</SPAN></B> Travis Hartnett=20
  &lt;travishartnett@gmail.com&gt;<BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">To:</SPAN></B>=20
  Loopers-Delight@loopers-delight.com<BR><B><SPAN=20
  style=3D"FONT-WEIGHT: bold">Sent:</SPAN></B> Friday, December 19, 2008 =
3:34:02=20
  PM<BR><B><SPAN style=3D"FONT-WEIGHT: bold">Subject:</SPAN></B> Re: =
distortion,=20
  overdrive,fuzz,crunch,special sauce, secret goo<BR></FONT><BR>Yeah, =
but you=20
  probably also can't play your articulate clean ideas with much heavier =
strings=20
  and higher action than you're currently using--does that mean that =
your=20
  current instrument setup (whatever it might be) is generating an =
illusion of=20
  technique? &nbsp;I don't think so. &nbsp;=20
  <DIV><BR></DIV>
  <DIV>Whatever tools make it easiest to produce your desired end =
result, by all=20
  means, use those, but the whole "make the young bucks play through a =
clean=20
  amp" thing doesn't make sense to me. &nbsp;Is anyone surprised when =
that sort=20
  of playing doesn't sound great through the wrong amp settings?</DIV>
  <DIV><BR></DIV>
  <DIV>TH</DIV>
  <DIV><BR><BR>
  <DIV class=3Dgmail_quote>On Fri, Dec 19, 2008 at 2:58 PM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A href=3D"mailto:info@krispenhartung.com" =
target=3D_blank=20
  rel=3Dnofollow=20
  =
ymailto=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt=
;</SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
    <DIV>
    <DIV><FONT face=3DArial size=3D2>Yes, I understand where you are =
coming from,=20
    and they seem like&nbsp; valid points.&nbsp; Though the points I =
made still=20
    stand true to my own evolution as a guitarist.&nbsp; High gain =
generated an=20
    elusion of technicality that could not be re-produced with clean =
tone,=20
    regardless of&nbsp;who it touched, whether it was miced, or any of =
the=20
    separate skills required to play the electric with high =
gain&nbsp;(which I=20
    fully understand, having played the electric for almost 30 years). =
And I am=20
    sure I can sit down with 10 young bucks walking on the streat =
who&nbsp;play=20
    screamin' licks on the electric, and test my theory with a =
clean&nbsp;tone.=20
    &nbsp;&nbsp;=20
  =
/K</FONT></DIV></DIV></BLOCKQUOTE></DIV></DIV></DIV></DIV></DIV><BR></BLO=
CKQUOTE></BODY></HTML>

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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A friend I played with in a band once told me "if you had technique you =
would be a dangerous MF!" I took it as a compliment. Actually I have =
worked on not hiding behind distortion and am finding as Bill said that =
I am using more overdrive instead of maxed out distortion. Also more =
clean tone playing. Learning the oud has been an eye/ear opener! At this =
stage though I don't expect to get much much more technique but I enjoy =
playing anyway. That said I have been craving a Fuzz Factory though =
cause sometimes I just want chaos. bwa ha!
J
  ----- Original Message -----=20
  From: Krispen Hartung=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 19, 2008 7:14 PM
  Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret =
goo



    Yeah, but you probably also can't play your articulate clean ideas =
with much heavier strings and higher action than you're currently using

    Yes, I also can't articulate my clean ideas as well with a bass =
guitar or a lute. What is the point?   Pick any electric guitar that is =
setup the way you like. Play it clean, play it with lots of gain. That =
is the context I am working with here.  Test it. Test others. See how =
often the hypothesis is true.=20

    --does that mean that your current instrument setup (whatever it =
might be) is generating an illusion of technique?  I don't think so.=20

    No. In the case you bring up, the unusual string gauge and action is =
just hindering me. Use the strings and action you are comfortable with, =
then let the tests begin. Technique is technique. Create a level playing =
field, and then you can either play the notes fluidly and with accuracy, =
or you can't.  A lot of distortion may in fact conceal this on some =
cases, but it doesn't change the fact.  I can pickup an electric with =
high gain and race up and down the neck with arpeggios, in that classic =
Malmsteen or Paul Gilbert fashion. I can do this as fast as I can and it =
sounds fairly fluid, but I can't turn around and do it on the electric =
with a clean tone. I have to slow down and maintain more control over my =
instrument.  The high gain, compression, and ultra sensitivity allows a =
lot of things that one couldn't ordinarily do with a clean tone while =
sounding just as controlled and articulate. I'm really not saying much =
more than that here.=20


    Whatever tools make it easiest to produce your desired end result, =
by all means, use those, but the whole "make the young bucks play =
through a clean amp" thing doesn't make sense to me.  Is anyone =
surprised when that sort of playing doesn't sound great through the =
wrong amp settings?  =20

    Wrong amp settings? What does that mean? I am not talking about what =
sounds "great" or "good", or what is "wrong" or "right". This is purely =
a matter of technicality, and I dare not introduce what "sounds good" =
into the conversation, because that is an entirely different and =
subjective matter regarding taste.  I am talking about pure physical =
technicality and the raw ability to create notes with accuracy and =
fluidity with a clean vs. high gain tone.  You can perform the test with =
any guitar or amp. Doesn't matter to me.  And the easiest test to =
perform is to have someone (could be yourself as well) who is very good =
at playing fast and seemingly articulate on an electric with high gain, =
and then see if they can do it with a clean tone. And it can be the =
clean tone of their preference, with the guitar and amp of their =
preference. It is a basic test.   I performed it on myself, and could =
not play the same thing with a clean tone. There is nothing wrong with =
that. It just means that I am taking advantage of the high gain to do =
things I can't do on with a clean tone. It does not mean I am a bad =
player, though I can say that I have aspired now to be able to play only =
things that I "can" play with a clean tone, and that has made me a =
better player. Now when I go back to the electric, I am even more =
articulate. So, the crutch proved to be a useful tool.  It forced me to =
sit down for years with a clean tone and really gain control over my =
instrument....though I am still working on this and it is a lifelong =
process.


    K-



    On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

      Yes, I understand where you are coming from, and they seem like  =
valid points.  Though the points I made still stand true to my own =
evolution as a guitarist.  High gain generated an elusion of =
technicality that could not be re-produced with clean tone, regardless =
of who it touched, whether it was miced, or any of the separate skills =
required to play the electric with high gain (which I fully understand, =
having played the electric for almost 30 years). And I am sure I can sit =
down with 10 young bucks walking on the streat who play screamin' licks =
on the electric, and test my theory with a clean tone.    /K


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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
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12/18/2008 8:06 PM

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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 6.00.6000.16587" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>A friend I played with in a band once =
told me "if=20
you had <FONT face=3D"Times New Roman" size=3D3>technique</FONT> <FONT=20
face=3D"Times New Roman" size=3D3>you would be a dangerous MF!" I took =
it as a=20
compliment. Actually I have worked on not hiding behind distortion and =
am=20
finding as Bill said that I am using more overdrive instead of maxed out =

distortion. Also more clean tone playing. Learning the oud has been an =
eye/ear=20
opener! At this stage though I don't expect to get much much more =
technique but=20
I enjoy playing anyway. That said I have been craving a Fuzz Factory =
though=20
cause sometimes I just want chaos. bwa ha!</FONT></FONT></DIV>
<DIV><FONT face=3DArial size=3D2>J</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=3Dinfo@krispenhartung.com =
href=3D"mailto:info@krispenhartung.com">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> Friday, December 19, 2008 =
7:14=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: distortion,=20
  overdrive,fuzz,crunch,special sauce, secret goo</DIV>
  <DIV><BR></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>Yeah, but you probably also can't play your articulate clean =
ideas with=20
    much heavier strings and higher action than you're currently =
using</DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2><STRONG>Yes, I also can't =
articulate my clean=20
    ideas as well with&nbsp;a bass guitar or a lute. What is the=20
    point?&nbsp;&nbsp; Pick any electric guitar that is setup the way =
you like.=20
    Play it clean, play it with lots of gain. That is the context I am =
working=20
    with here.&nbsp; Test it. Test others. See how often the hypothesis =
is true.=20
    </STRONG></FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV>--does that mean that your current instrument setup (whatever =
it might=20
    be) is generating an illusion of technique? &nbsp;I don't think so. =
</DIV>
    <DIV>&nbsp;</DIV>
    <DIV><STRONG>No. In the case you bring up,&nbsp;the unusual string =
gauge and=20
    action&nbsp;is just hindering me. Use the strings and action you are =

    comfortable with, then let the tests begin. Technique is technique. =
Create a=20
    level playing field, and then you&nbsp;can&nbsp;either play the =
notes=20
    fluidly and with accuracy,&nbsp;or you can't.&nbsp; A lot of =
distortion may=20
    in fact conceal this&nbsp;on some cases, but it doesn't change the=20
    fact.&nbsp; I can pickup an electric with high gain and race up and =
down the=20
    neck with arpeggios, in that classic Malmsteen or Paul Gilbert =
fashion. I=20
    can do this as fast as I can and it sounds fairly fluid, but I can't =
turn=20
    around and do it on the electric with a clean tone. I have to slow =
down and=20
    maintain more control over my instrument.&nbsp; The high gain, =
compression,=20
    and ultra sensitivity allows a lot of things that one couldn't =
ordinarily do=20
    with a clean tone while sounding just as controlled and articulate. =
I'm=20
    really not saying much more than that here. </STRONG></DIV>
    <DIV><BR></DIV>
    <DIV>Whatever tools make it easiest to produce your desired end =
result, by=20
    all means, use those, but the whole "make the young bucks play =
through a=20
    clean amp" thing doesn't make sense to me. &nbsp;Is anyone surprised =
when=20
    that sort of playing doesn't sound great through the wrong amp=20
    settings?&nbsp;&nbsp; </DIV>
    <DIV>&nbsp;</DIV>
    <DIV><STRONG>Wrong amp settings? What does that mean? I am not =
talking about=20
    what sounds "great" or "good", or what is "wrong" or "right". This =
is purely=20
    a matter of technicality, and I dare not introduce what "sounds =
good" into=20
    the conversation, because that is an entirely different and =
subjective=20
    matter regarding taste.&nbsp; I am talking about pure physical =
technicality=20
    and the raw ability to create notes with accuracy and fluidity with =
a clean=20
    vs. high gain tone.&nbsp; You can perform the test with any guitar =
or amp.=20
    Doesn't matter to me.&nbsp; And the easiest test to perform is to =
have=20
    someone (could be yourself as well) who is very good at playing fast =
and=20
    seemingly articulate on an electric with high gain, and then see if =
they can=20
    do it with a clean tone. And it can be the clean tone of their =
preference,=20
    with the guitar and amp of their preference. It is a basic =
test.&nbsp;&nbsp;=20
    I performed it on myself, and could not play the same thing with a =
clean=20
    tone. There is nothing wrong with that. It just means that I am =
taking=20
    advantage of the high gain to do things I can't do on with a clean =
tone. It=20
    does not mean I am a bad player, though I can say that I have =
aspired now to=20
    be able to play only things that I "can" play with&nbsp;a clean =
tone, and=20
    that has made me a better player. Now when I go back to the =
electric, I am=20
    even more articulate. So, the crutch proved to be a useful =
tool.&nbsp; It=20
    forced me to sit down for years with a clean tone and really gain =
control=20
    over my instrument....though I am still working on this and it is a =
lifelong=20
    process.</STRONG></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial=20
size=3D2></FONT><BR></DIV>
    <DIV><FONT face=3DArial size=3D2>K-</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT><BR><BR>
    <DIV class=3Dgmail_quote>On Fri, Dec 19, 2008 at 2:58 PM, Krispen =
Hartung=20
    <SPAN dir=3Dltr>&lt;<A=20
    =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
    wrote:<BR>
    <BLOCKQUOTE class=3Dgmail_quote=20
    style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
      <DIV bgcolor=3D"#ffffff">
      <DIV><FONT face=3DArial size=3D2>Yes, I understand where you are =
coming from,=20
      and they seem like&nbsp; valid points.&nbsp; Though the points I =
made=20
      still stand true to my own evolution as a guitarist.&nbsp; High =
gain=20
      generated an elusion of technicality that could not be re-produced =
with=20
      clean tone, regardless of&nbsp;who it touched, whether it was =
miced, or=20
      any of the separate skills required to play the electric with high =

      gain&nbsp;(which I fully understand, having played the electric =
for almost=20
      30 years). And I am sure I can sit down with 10 young bucks =
walking on the=20
      streat who&nbsp;play screamin' licks on the electric, and test my =
theory=20
      with a clean&nbsp;tone. &nbsp;&nbsp;=20
    /K</FONT></DIV></DIV></BLOCKQUOTE></DIV></DIV></BLOCKQUOTE>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 00:53:38 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <009701c961fd$46f43740$fe78a8c0@mpeserver> <003301c96238$1bbd2100$0202a8c0@YOUR08D5303051>
Subject: Re: Google Friend Connect
Date: Fri, 19 Dec 2008 17:53:35 -0700
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I just joined your page, Jeff. I'm still trying to figure out how this works 
too. It is now on my page. www.krispenhartung.com

Kris




> I,m with ya Michael, I put one on my little homepage also, I too am not 
> sure what to do with it but come and join me ya'll!
> http://www.thisphase.org/jeffdukedotorg.html
>
> Jeff
>
> ----- Original Message ----- 
> <Chain-Tape-Collective@yahoogroups.com>
> Sent: Friday, December 19, 2008 12:14 PM
> Subject: Google Friend Connect
>
>
>>I can't say that I fully understand how this is going to work but it 
>>sounds
>> like an intriguing idea ... I've added a Google Friend Connect widget to
>> www.michaelpeters.de ... please come and link!
>>
>> -Michael

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Date: Fri, 19 Dec 2008 17:23:23 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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On Fri, Dec 19, 2008 at 4:14 PM, Krispen Hartung <info@krispenhartung.com>wrote:

>   My point is that one is not a better musician for being able to play
> fast and clean through a non-distorted amp, useful a skill as that may be.
>



> These hypothetical metal players have picked the tools that best allow them
> to get across what they want to say, and the fact that it doesn't sound so
> great to you when one imposes an arbitrary condition (clean channel!) upon
> them doesn't really mean...anything.  The amp and its settings are part of
> their equation, not just an afterthought.
>



> Forget the bass/lute example, I could hand you an archtop with high action
> and a .017 set a la Charlie Christian and your ability to cleanly and
> quickly execute your ideas would be severely impacted from your preferred
> setup.  Does that mean your technique's lacking and you're hiding behind a
> soft setup, or that it's not the right or preferred tool for the job?
>


TH

>  Yeah, but you probably also can't play your articulate clean ideas with
> much heavier strings and higher action than you're currently using
>
> *Yes, I also can't articulate my clean ideas as well with a bass guitar or
> a lute. What is the point?   Pick any electric guitar that is setup the way
> you like. Play it clean, play it with lots of gain. That is the context I am
> working with here.  Test it. Test others. See how often the hypothesis is
> true. *
>
> --does that mean that your current instrument setup (whatever it might be)
> is generating an illusion of technique?  I don't think so.
>
> *No. In the case you bring up, the unusual string gauge and action is just
> hindering me. Use the strings and action you are comfortable with, then let
> the tests begin. Technique is technique. *
>
>

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<br><br><div class="gmail_quote">On Fri, Dec 19, 2008 at 4:14 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">






<div bgcolor="#ffffff">
<div><font face="Arial" size="2"></font>&nbsp;My point is that one is not a better musician for being able to play fast and clean through a non-distorted amp, useful a skill as that may be.</div></div></blockquote><div><br></div>
<div>&nbsp;</div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div bgcolor="#ffffff"><div>These hypothetical metal players have picked the tools that best allow them to get across what they want to say, and the fact that it doesn&#39;t sound so great to you when one imposes an arbitrary condition (clean channel!) upon them doesn&#39;t really mean...anything. &nbsp;The amp and its settings are part of their equation, not just an afterthought.</div>
</div></blockquote><div><br></div><div>&nbsp;</div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div bgcolor="#ffffff"><div>Forget the bass/lute example, I could hand you an archtop with high action and a .017 set a la Charlie Christian and your ability to cleanly and quickly execute your ideas would be severely impacted from your preferred setup. &nbsp;Does that mean your technique&#39;s lacking and you&#39;re hiding behind a soft setup, or that it&#39;s not the right or preferred tool for the job?</div>
</div></blockquote><div><br></div><div><br></div><div>TH&nbsp;</div><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><div bgcolor="#ffffff"><div></div>
<blockquote dir="ltr" style="padding-right:0px;padding-left:5px;margin-left:5px;border-left:#000000 2px solid;margin-right:0px"><div class="Ih2E3d">
  <div>Yeah, but you probably also can&#39;t play your articulate clean ideas with 
  much heavier strings and higher action than you&#39;re currently using</div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  </div><div><font face="Arial" size="2"><strong>Yes, I also can&#39;t articulate my clean 
  ideas as well with&nbsp;a bass guitar or a lute. What is the 
  point?&nbsp;&nbsp; Pick any electric guitar that is setup the way you like. 
  Play it clean, play it with lots of gain. That is the context I am working 
  with here.&nbsp; Test it. Test others. See how often the hypothesis is true. 
  </strong></font></div><div class="Ih2E3d">
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div>--does that mean that your current instrument setup (whatever it might 
  be) is generating an illusion of technique? &nbsp;I don&#39;t think so. </div>
  <div>&nbsp;</div>
  </div><div><strong>No. In the case you bring up,&nbsp;the unusual string gauge and 
  action&nbsp;is just hindering me. Use the strings and action you are 
  comfortable with, then let the tests begin. Technique is technique.&nbsp;</strong></div></blockquote></div></blockquote></div>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 01:51:22 2008
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References: <009701c961fd$46f43740$fe78a8c0@mpeserver> <003301c96238$1bbd2100$0202a8c0@YOUR08D5303051>
Subject: Re: Google Friend Connect
Date: Fri, 19 Dec 2008 18:51:19 -0700
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I just added the "wall" my website too. Let's give that a try

Kris

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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    Forget the bass/lute example, I could hand you an archtop with high =
action and a .017 set a la Charlie Christian and your ability to cleanly =
and quickly execute your ideas would be severely impacted from your =
preferred setup.  Does that mean your technique's lacking and you're =
hiding behind a soft setup, or that it's not the right or preferred tool =
for the job?


  It doesn't mean anything relative to my original point.  Stick to my =
example.  You can ad other factors ad infinitum to make the point you =
make above, but it misses the point.
  Kris



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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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<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 class=3Dgmail_quote>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid">
    <DIV bgcolor=3D"#ffffff">
    <DIV>Forget the bass/lute example, I could hand you an archtop with =
high=20
    action and a .017 set a la Charlie Christian and your ability to =
cleanly and=20
    quickly execute your ideas would be severely impacted from your =
preferred=20
    setup. &nbsp;Does that mean your technique's lacking and you're =
hiding=20
    behind a soft setup, or that it's not the right or preferred tool =
for the=20
    job?</DIV></DIV></BLOCKQUOTE>
  <DIV><BR></DIV>
  <DIV><FONT face=3DArial size=3D2>It doesn't mean anything relative to =
my original=20
  point.&nbsp; Stick to my example.&nbsp; You can ad other factors ad =
infinitum=20
  to make the point you make above, but it misses the =
point.</FONT></DIV><FONT=20
  face=3DArial size=3D2></FONT></DIV>
  <DIV class=3Dgmail_quote><FONT face=3DArial size=3D2>Kris</FONT></DIV>
  <DIV class=3Dgmail_quote><FONT face=3DArial =
size=3D2></FONT>&nbsp;</DIV>
  <DIV class=3Dgmail_quote><BR></DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 02:11:28 2008
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Amadeus is for Mac only. And it's my favorite sample editor on Mac.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Fri, Dec 19, 2008 at 7:55 PM, Matthias Grob <matilists@atarde.com.br> wrote:
> did you try Amadeus?
> I never used Sound Forge, but I prefer Amadeus over Peak for stereo
> edit/conversion...
>
> On 19 Dec 2008, at 13:36, Per Boysen wrote:
>
>> Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came
>> for Mac SoundForge is the last Windows application I have not found a
>> Mac equivalent to. There's Peak and Wavelab for Mac but neither of
>> them is as fast and simple as SoundForge, IMHO.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>> On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke <jeff_d@embarqmail.com> wrote:
>>>
>>> Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and I
>>> can
>>> use stills also. I have alot to learn with it. It's really deeper than I
>>> care to go but it does work well with Sony Sound Forge. All pc but
>>> similar
>>> capabilities perhaps.
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 02:27:26 2008
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Lotsa fun. Thanks.

Warren

On Thu, Dec 18, 2008 at 2:08 PM, andy butler <akbutler@tiscali.co.uk> wrote:

> with Rick Walker,
> Jeremy & Chris
> Stephen Scott
> andy butler
>
> http://uk.youtube.com/watch?v=U169r_3nVWo
>
> Rick brought his little camera, and then left this footage with me,
> so I thought I'd edit it up into a little mini-vid.
> Audio is from the mixing desk, synced up by "special techniques"
> in the Butler laboratory.
>
>
> Looks like it got mono-ed, which is a shame.
>
> there'll be more "stuff" from the Norwich 2008 along soon,
> including some very nice loop ensemble stuff...
> even a bit more vid footage.
>
>
>
> andy butler
>
>
>
>
>


-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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Lotsa fun. Thanks.<br><br>Warren <br><br><div class="gmail_quote">On Thu, Dec 18, 2008 at 2:08 PM, andy butler <span dir="ltr">&lt;<a href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
with Rick Walker,<br>
Jeremy &amp; Chris<br>
Stephen Scott<br>
andy butler<br>
<br>
<a href="http://uk.youtube.com/watch?v=U169r_3nVWo" target="_blank">http://uk.youtube.com/watch?v=U169r_3nVWo</a><br>
<br>
Rick brought his little camera, and then left this footage with me,<br>
so I thought I&#39;d edit it up into a little mini-vid.<br>
Audio is from the mixing desk, synced up by &quot;special techniques&quot;<br>
in the Butler laboratory.<br>
<br>
<br>
Looks like it got mono-ed, which is a shame.<br>
<br>
there&#39;ll be more &quot;stuff&quot; from the Norwich 2008 along soon,<br>
including some very nice loop ensemble stuff...<br>
even a bit more vid footage.<br><font color="#888888">
<br>
<br>
<br>
andy butler<br>
<br>
<br>
<br>
<br>
</font></blockquote></div><br><br clear="all"><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>


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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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On Dec 19, 2008, at 4:58 PM, Krispen Hartung wrote:

> Yes, I understand where you are coming from, and they seem like   
> valid points.  Though the points I made still stand true to my own  
> evolution as a guitarist.  High gain generated an elusion of  
> technicality that could not be re-produced with clean tone,  
> regardless of who it touched, whether it was miced,

The guys I admire can play at blazing speeds clean too. So, I guess  
I'd have to disagree.

Jeff
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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 Dec 19, 2008, =
at 4:58 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; =
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-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; ">Yes, I understand where =
you are coming from, and they seem like=A0 valid points.=A0 Though the =
points I made still stand true to my own evolution as a guitarist.=A0 =
High gain generated an elusion of technicality that could not be =
re-produced with clean tone, regardless of=A0who it touched, whether it =
was miced,=A0</SPAN></FONT></DIV></SPAN></BLOCKQUOTE><BR></DIV><DIV>The =
guys I admire can play at blazing speeds clean too. So, I guess I'd have =
to disagree.=A0</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jeff</DIV></BODY></HTML>=

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10-4 Krispen, me too, that works. It makes more sense now. Communication..

Jeff

----- Original Message ----- 
From: "Krispen Hartung" <info@krispenhartung.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 19, 2008 8:51 PM
Subject: Re: Google Friend Connect


>I just added the "wall" my website too. Let's give that a try
>
> Kris
>


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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 03:36:05 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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  On Dec 19, 2008, at 4:58 PM, Krispen Hartung wrote:


    Yes, I understand where you are coming from, and they seem like  =
valid points.  Though the points I made still stand true to my own =
evolution as a guitarist.  High gain generated an elusion of =
technicality that could not be re-produced with clean tone, regardless =
of who it touched, whether it was miced,=20

  The guys I admire can play at blazing speeds clean too. So, I guess =
I'd have to disagree.=20


  Jeff

  Actually, I think we may agree. You could have just took that passage =
out of context. In my example, I realized that I could play with more =
"apparent" articulation and speed with high gain than playing clean =
(this was years ago, of course), which compelled me to work on my chops =
and techniqe playing clean. Now, I can play better in both scenarios.  =
So, I do think that being able to express yourself quickly (when =
appropriate) both with clean and high gain is a more desired trait.  It =
means you are more versatile, but more importantly not restricted when =
you play clean.  Does that make sense?  Both are good, but in my =
example, one did not translate into the other because with playing clean =
I did not have the benfit of gain, overtones, distortion, high =
sensitivity, etc smoothing over my articulation blemishes.  So once you =
play fast and clean, you go back to playing fast and dirty, and you are =
that much a better player.=20

  Kris

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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
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<META content=3D"MSHTML 6.00.6000.16788" 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></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"><BR>
  <DIV>
  <DIV>On Dec 19, 2008, at 4:58 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; =
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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">Yes, I understand =
where you are=20
    coming from, and they seem like&nbsp; valid points.&nbsp; Though the =
points=20
    I made still stand true to my own evolution as a guitarist.&nbsp; =
High gain=20
    generated an elusion of technicality that could not be re-produced =
with=20
    clean tone, regardless of&nbsp;who it touched, whether it was=20
    miced,&nbsp;</SPAN></FONT></SPAN><BR></DIV></BLOCKQUOTE></DIV>
  <DIV>The guys I admire can play at blazing speeds clean too. So, I =
guess I'd=20
  have to disagree.&nbsp;</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Jeff</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Actually, I think we&nbsp;may agree.=20
  You&nbsp;could have just&nbsp;took that passage out of context. In my =
example,=20
  I realized that I could play with more "apparent" articulation and =
speed with=20
  high gain than playing clean (this was years ago, of course), which =
compelled=20
  me to work on my chops and techniqe playing clean. Now, I can play =
better in=20
  both scenarios.&nbsp; So, I do think that being able to express =
yourself=20
  quickly (when appropriate) both with clean and high gain is a more =
desired=20
  trait.&nbsp; It means you are more versatile, but more importantly not =

  restricted when you play clean.&nbsp; Does that make sense?&nbsp; Both =
are=20
  good, but in my example, one did not translate into the other because =
with=20
  playing clean I did not have the benfit of gain, overtones, =
distortion, high=20
  sensitivity, etc smoothing over my articulation blemishes.&nbsp; So =
once you=20
  play fast and clean, you go back to playing fast and dirty, and you =
are that=20
  much a better player. </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></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 04:53:22 2008
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I've been following this thread avidly because I am currently in love
with distortion, fuzz and overdrives in my own work lately
(and have spend stupid money that I didn't really have buying
up stomp box pedals in the vein).

I totally hear what both Krispen and Bill are saying, viz a vis, the 
fact that
heavily distorted guitars over heavily overdriven amps at high volume 
can cause
a compression of both volume and a compression of timbre that can really
both limit nuance and dynamics and also, potentially, hide poor technique.

At the same time,    I'm not a guitarist (though I own several) and I 
don't tend to think like a
guitarist.

I have neither skill or nuance in my 6 string playing, but I do think 
like a multi-instrumentalist
and a composer and I love the timbral range that is available with all 
kinds of different distortions, overdrives,
feedbackers  and fuzzes.

If I was only playing guitar in my peformances, then I think I would 
probably avoid the kind of
tones that can potentially put  Krispen and Bill off of Nels Clines' sound.

As a composer, though,  I find his sound absolutely fascinating, 
sometimes, specifically because
it IS linear and non dynamic.      I've also found that it is 
efficacious in some composing to
juxtapose musical lines that are very uni-dynamic against things that 
are much more so.........the
resultant contrast makes for interesting and very musical results.

Trent Reznor has been really good at this:   using very monolithic 
sounds (compressed to hell
frequently) and then using a ton of dynamics in his vocals or in the 
rest of his arrangements
(even just controlling the volume of his heavily distorted sounds in his 
mix)

Lately,  I'm most attracted to sounds that are ridiculously 
overdistorted........almost to the point
of obscuring the melody being played.

I recently produced a very small Noise Festival and used my Olympus 
recorder to record my sets
and the set of Bryan of Rape Shower fame.    

I wasn't able to check my settings and the entire thing clipped horribly 
with digital
distortion................arguably the ugliest distortion found.

To my delight,  I went back and listened to some of Bryan's tracks 
which, in a digital sound editor
looked like solid black.   He had started his set out in a cool way , 
just playing an old blues
song, fairly straightforward before launching into a very loud and 
aggressive noise set.

The blues tune, distorted to square wave clipping sounded really cool to 
my ears.

Again, as my brother so wisely said,  everyone has their own aesthetic 
and it's valid.

I just wanted to put it out there that there is a lover on this list of
stupid overly distorted sound.

A student of mine who I just turned on to the My Bloody Valentine body 
of work said,
"...............I'm also rethinking distortion now; I've never heard so 
much color in distortion before!....."

Noise and the noise-esque sounds you can get with radical combinations 
of distortion
are the equivalent of White light.   They contain hundres of sine waves.
To me the after the effect processing of such sounds can yield really 
subtle and even
quite melodic work.

Yeah verily!

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2008/12/19 tEd (R) KiLLiAn <tedkillian@charter.net>

> , and some young bass player who's name I forget back in '97 or '98.
>




-- 
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
TPO at Jamendo: http://www.jamendo.com

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<br><br><div class="gmail_quote">2008/12/19 tEd &reg; KiLLiAn <span dir="ltr">&lt;<a href="mailto:tedkillian@charter.net">tedkillian@charter.net</a>&gt;</span><br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
, and some young bass player who&#39;s name I forget back in &#39;97 or &#39;98.<br></blockquote></div><br clear="all"><br><div><br></div><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><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a><br>

</div>

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I use wavelab for windows since the days it was clearly faster than
soundforge. Don't know nowadays.

2008/12/19 Per Boysen <perboysen@gmail.com>

> Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came
> for Mac SoundForge is the last Windows application I have not found a
> Mac equivalent to. There's Peak and Wavelab for Mac but neither of
> them is as fast and simple as SoundForge, IMHO.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke <jeff_d@embarqmail.com> wrote:
> > Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and I
> can
> > use stills also. I have alot to learn with it. It's really deeper than I
> > care to go but it does work well with Sony Sound Forge. All pc but
> similar
> > capabilities perhaps.
>
>


-- 
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
TPO at Jamendo: http://www.jamendo.com

------=_Part_40543_21960147.1229749547929
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I use wavelab for windows since the days it was clearly faster than soundforge. Don&#39;t know nowadays.&nbsp;<br><br><div class="gmail_quote">2008/12/19 Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span><br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came<br>
for Mac SoundForge is the last Windows application I have not found a<br>
Mac equivalent to. There&#39;s Peak and Wavelab for Mac but neither of<br>
them is as fast and simple as SoundForge, IMHO.<br>
<br>
Greetings from Sweden<br>
<font color="#888888"><br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
</font><div><div></div><div class="Wj3C7c"><br>
<br>
<br>
On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke &lt;<a href="mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</a>&gt; wrote:<br>
&gt; Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and I can<br>
&gt; use stills also. I have alot to learn with it. It&#39;s really deeper than I<br>
&gt; care to go but it does work well with Sony Sound Forge. All pc but similar<br>
&gt; capabilities perhaps.<br>
<br>
</div></div></blockquote></div><br><br clear="all"><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><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a><br>

------=_Part_40543_21960147.1229749547929--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 05:13:44 2008
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Date: Fri, 19 Dec 2008 21:13:43 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
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The live recording of "The noonward race" from 1972 is killer. The
first couple of minutes are just McLaughlin and Cobham:
http://troward.blogspot.com/2008/04/mahavishnu-orchestra-live-at-mar-y-sol.html

-
Art Simon
simart@null.net
myspace [dot] com/artsimon

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From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Amen Rick!

The harmonic content of a distorted sound is vastly more complex than
a clean one. So a single boring clean note can be a dancing symphony
of harmonics with distortion. You can't play jazz chords or complex
phrasing through distortion, it's too jumbled. But you can play simple
stuff, and with distortion it becomes complex. It all depends on what
you are listening for. There are no chops in Alvin Lucier's "I am
sitting in a room," it's all about what distortion (and looping to
stay on topic) introduces to the sound. The line between noise and
music I think is the dominant post Cage stream in modern music. That
doesn't mean I think all distortion is good, but I think it becomes a
medium much like the guitar in itself.

On Fri, Dec 19, 2008 at 8:53 PM, Rick Walker <looppool@cruzio.com> wrote:
> I've been following this thread avidly because I am currently in love
> with distortion, fuzz and overdrives in my own work lately
> (and have spend stupid money that I didn't really have buying
> up stomp box pedals in the vein).
>
> I totally hear what both Krispen and Bill are saying, viz a vis, the fact
> that
> heavily distorted guitars over heavily overdriven amps at high volume can
> cause
> a compression of both volume and a compression of timbre that can really
> both limit nuance and dynamics and also, potentially, hide poor technique.
>
> At the same time,    I'm not a guitarist (though I own several) and I don't
> tend to think like a
> guitarist.
>
> I have neither skill or nuance in my 6 string playing, but I do think like a
> multi-instrumentalist
> and a composer and I love the timbral range that is available with all kinds
> of different distortions, overdrives,
> feedbackers  and fuzzes.
>
> If I was only playing guitar in my peformances, then I think I would
> probably avoid the kind of
> tones that can potentially put  Krispen and Bill off of Nels Clines' sound.
>
> As a composer, though,  I find his sound absolutely fascinating, sometimes,
> specifically because
> it IS linear and non dynamic.      I've also found that it is efficacious in
> some composing to
> juxtapose musical lines that are very uni-dynamic against things that are
> much more so.........the
> resultant contrast makes for interesting and very musical results.
>
> Trent Reznor has been really good at this:   using very monolithic sounds
> (compressed to hell
> frequently) and then using a ton of dynamics in his vocals or in the rest of
> his arrangements
> (even just controlling the volume of his heavily distorted sounds in his
> mix)
>
> Lately,  I'm most attracted to sounds that are ridiculously
> overdistorted........almost to the point
> of obscuring the melody being played.
>
> I recently produced a very small Noise Festival and used my Olympus recorder
> to record my sets
> and the set of Bryan of Rape Shower fame.
> I wasn't able to check my settings and the entire thing clipped horribly
> with digital
> distortion................arguably the ugliest distortion found.
>
> To my delight,  I went back and listened to some of Bryan's tracks which, in
> a digital sound editor
> looked like solid black.   He had started his set out in a cool way , just
> playing an old blues
> song, fairly straightforward before launching into a very loud and
> aggressive noise set.
>
> The blues tune, distorted to square wave clipping sounded really cool to my
> ears.
>
> Again, as my brother so wisely said,  everyone has their own aesthetic and
> it's valid.
>
> I just wanted to put it out there that there is a lover on this list of
> stupid overly distorted sound.
>
> A student of mine who I just turned on to the My Bloody Valentine body of
> work said,
> "...............I'm also rethinking distortion now; I've never heard so much
> color in distortion before!....."
>
> Noise and the noise-esque sounds you can get with radical combinations of
> distortion
> are the equivalent of White light.   They contain hundres of sine waves.
> To me the after the effect processing of such sounds can yield really subtle
> and even
> quite melodic work.
>
> Yeah verily!
>
>



-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon

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Very nice! Chaos is always information rich.

J

----- Original Message ----- 
From: "Art Simon" <simart@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, December 20, 2008 12:38 AM
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo


> Amen Rick!
>
> The harmonic content of a distorted sound is vastly more complex than
> a clean one. So a single boring clean note can be a dancing symphony
> of harmonics with distortion. You can't play jazz chords or complex
> phrasing through distortion, it's too jumbled. But you can play simple
> stuff, and with distortion it becomes complex. It all depends on what
> you are listening for. There are no chops in Alvin Lucier's "I am
> sitting in a room," it's all about what distortion (and looping to
> stay on topic) introduces to the sound. The line between noise and
> music I think is the dominant post Cage stream in modern music. That
> doesn't mean I think all distortion is good, but I think it becomes a
> medium much like the guitar in itself.
>
> On Fri, Dec 19, 2008 at 8:53 PM, Rick Walker <looppool@cruzio.com> wrote:
>> I've been following this thread avidly because I am currently in love
>> with distortion, fuzz and overdrives in my own work lately
>> (and have spend stupid money that I didn't really have buying
>> up stomp box pedals in the vein).
>>
>> I totally hear what both Krispen and Bill are saying, viz a vis, the fact
>> that
>> heavily distorted guitars over heavily overdriven amps at high volume can
>> cause
>> a compression of both volume and a compression of timbre that can really
>> both limit nuance and dynamics and also, potentially, hide poor 
>> technique.
>>
>> At the same time,    I'm not a guitarist (though I own several) and I 
>> don't
>> tend to think like a
>> guitarist.
>>
>> I have neither skill or nuance in my 6 string playing, but I do think 
>> like a
>> multi-instrumentalist
>> and a composer and I love the timbral range that is available with all 
>> kinds
>> of different distortions, overdrives,
>> feedbackers  and fuzzes.
>>
>> If I was only playing guitar in my peformances, then I think I would
>> probably avoid the kind of
>> tones that can potentially put  Krispen and Bill off of Nels Clines' 
>> sound.
>>
>> As a composer, though,  I find his sound absolutely fascinating, 
>> sometimes,
>> specifically because
>> it IS linear and non dynamic.      I've also found that it is efficacious 
>> in
>> some composing to
>> juxtapose musical lines that are very uni-dynamic against things that are
>> much more so.........the
>> resultant contrast makes for interesting and very musical results.
>>
>> Trent Reznor has been really good at this:   using very monolithic sounds
>> (compressed to hell
>> frequently) and then using a ton of dynamics in his vocals or in the rest 
>> of
>> his arrangements
>> (even just controlling the volume of his heavily distorted sounds in his
>> mix)
>>
>> Lately,  I'm most attracted to sounds that are ridiculously
>> overdistorted........almost to the point
>> of obscuring the melody being played.
>>
>> I recently produced a very small Noise Festival and used my Olympus 
>> recorder
>> to record my sets
>> and the set of Bryan of Rape Shower fame.
>> I wasn't able to check my settings and the entire thing clipped horribly
>> with digital
>> distortion................arguably the ugliest distortion found.
>>
>> To my delight,  I went back and listened to some of Bryan's tracks which, 
>> in
>> a digital sound editor
>> looked like solid black.   He had started his set out in a cool way , 
>> just
>> playing an old blues
>> song, fairly straightforward before launching into a very loud and
>> aggressive noise set.
>>
>> The blues tune, distorted to square wave clipping sounded really cool to 
>> my
>> ears.
>>
>> Again, as my brother so wisely said,  everyone has their own aesthetic 
>> and
>> it's valid.
>>
>> I just wanted to put it out there that there is a lover on this list of
>> stupid overly distorted sound.
>>
>> A student of mine who I just turned on to the My Bloody Valentine body of
>> work said,
>> "...............I'm also rethinking distortion now; I've never heard so 
>> much
>> color in distortion before!....."
>>
>> Noise and the noise-esque sounds you can get with radical combinations of
>> distortion
>> are the equivalent of White light.   They contain hundres of sine waves.
>> To me the after the effect processing of such sounds can yield really 
>> subtle
>> and even
>> quite melodic work.
>>
>> Yeah verily!
>>
>>
>
>
>
> -- 
> Art Simon
> simart@null.net
> myspace [dot] com/artsimon
>


--------------------------------------------------------------------------------



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8:06 PM

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To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Yes, we all choose a voice with which to speak.  What I really find
bothersome here is the incessant emphasis of mechanics over art, and
single-minded effort to get us all to fall in line.

After all the execution, there only stands an event to which people have
their own separate reactions. Some choose stark simplicity; others choose
harmonic complexity (and I'm not talking about stacked tone clusters here,
just the basic tone of a single note).

We go about our personal disciplines to accomplish these choices of
expression, then we take it into the artistic world to make our statements.
Fuzz, no fuzz, dark, brite . . . some of my favorite moments in guitar are
ones thet defy technique; how did they do THAT?! moments, and I've had them
myself and relish the experience of confounding myself in the act of
expression.

So YEAH: As a guitar teacher, YES, I would encourage students to get a
little technique and backbone, but I could give a shit once they hit the
stage or recording studio. DID THEY MOVE ME OR NOT?

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Yes, we all choose a voice with which to speak.&nbsp; What I really find bothersome here is the incessant emphasis of mechanics over art, and single-minded effort to get us all to fall in line. <br><br>After all the execution, there only stands an event to which people have their own separate reactions. Some choose stark simplicity; others choose harmonic complexity (and I&#39;m not talking about stacked tone clusters here, just the basic tone of a single note). <br>
<br>We go about our personal disciplines to accomplish these choices of expression, then we take it into the artistic world to make our statements. Fuzz, no fuzz, dark, brite . . . some of my favorite moments in guitar are ones thet defy technique; how did they do THAT?! moments, and I&#39;ve had them myself and relish the experience of confounding myself in the act of expression.<br>
<br>So YEAH: As a guitar teacher, YES, I would encourage students to get a little technique and backbone, but I could give a shit once they hit the stage or recording studio. DID THEY MOVE ME OR NOT?<br>

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Art Simon wrote:

> The harmonic content of a distorted sound is vastly more complex than
> a clean one. 

the evidence for that being????

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Il giorno 20/dic/08, alle ore 01:14, "Krispen Hartung" <info@krispenhartung.com 
 > ha scritto:

>
> Yeah, but you probably also can't play your articulate clean ideas  
> with much heavier strings and higher action than you're currently  
> using
>
> Yes, I also can't articulate my clean ideas as well with a bass  
> guitar or a lute. What is the point?   Pick any electric guitar that  
> is setup the way you like. Play it clean, play it with lots of gain.  
> That is the context I am working with here.  Test it. Test others.  
> See how often the hypothesis is true.
>
> --does that mean that your current instrument setup (whatever it  
> might    be) is generating an illusion of technique?  I don't think  
> so.
>
> No. In the case you bring up, the unusual string gauge and action is  
> just hindering me. Use the strings and action you are comfortable  
> with, then let the tests begin. Technique is technique. Create a  
> level playing field, and then you can either play the notes fluidly  
> and with accuracy, or you can't.  A lot of distortion may in fact  
> conceal this on some cases, but it doesn't change the fact.  I can  
> pickup an electric with high gain and race up and down the neck with  
> arpeggios, in that classic Malmsteen or Paul Gilbert fashion. I can  
> do this as fast as I can and it sounds fairly fluid, but I can't  
> turn around and do it on the electric with a clean tone. I have to  
> slow down and maintain more control over my instrument.  The high  
> gain, compression, and ultra sensitivity allows a lot of things that  
> one couldn't ordinarily do with a clean tone while sounding just as  
> controlled and articulate. I'm really not saying much more    than  
> that here.
>
> Whatever tools make it easiest to produce your desired end result,  
> by all means, use those, but the whole "make the young bucks play  
> through a clean amp" thing doesn't make sense to me.  Is anyone  
> surprised when that sort of playing doesn't sound great through the  
> wrong amp settings?
>
> Wrong amp settings? What does that mean? I am not talking about what  
> sounds "great" or "good", or what is "wrong" or "right". This is  
> purely a matter of technicality, and I dare not introduce what  
> "sounds good" into the conversation, because that is an entirely  
> different and subjective matter regarding taste.  I am talking about  
> pure physical technicality and the raw ability to create notes with  
> accuracy and fluidity with a clean vs. high gain tone.  You can  
> perform the test with any guitar or amp. Doesn't matter to me.  And  
> the easiest test to perform is to have someone (could be yourself as  
> well) who is very good at playing fast and seemingly articulate on  
> an electric with high gain, and then see if they can do it with a  
> clean    tone. And it can be the clean tone of their preference,  
> with the guitar and amp of their preference. It is a basic test.   I  
> performed it on myself, and could not play the same thing with a  
> clean tone. There is nothing wrong with that. It just means that I  
> am taking advantage of the high gain to do things I can't do on with  
> a clean tone. It does not mean I am a bad player, though I can say  
> that I have aspired now to be able to play only things that I "can"  
> play with a clean tone, and that has made me a better player. Now  
> when I go back to the electric, I am even more articulate. So, the  
> crutch proved to be a useful tool.  It forced me to sit down for  
> years with a clean tone and really gain control over my  
> instrument....though I am still working on this and it is a lifelong  
> process.
>
> K-
>
>
> On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung <info@krispenhartung.com 
> > wrote:
> Yes, I understand where you are coming from, and they seem like   
> valid points.  Though the points I made still stand true to my own  
> evolution as a guitarist.  High gain generated an elusion of  
> technicality that could not be re-produced with clean tone,  
> regardless of who it touched, whether it was miced, or any of the  
> separate skills required to play the electric with high gain (which  
> I fully understand, having played the electric for almost 30 years).  
> And I am      sure I can sit down with 10 young bucks walking on the  
> streat who play screamin' licks on the electric, and test my theory  
> with a clean tone.    /K

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<html><body bgcolor="#FFFFFF"><div><br><br>Il giorno 20/dic/08, alle ore 01:14, "Krispen Hartung" &lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>> ha scritto:<br><br></div><div></div><blockquote type="cite"><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>Yeah, but you probably also can't play your articulate clean ideas with 
  much heavier strings and higher action than you're currently using</div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div><font face="Arial" size="2"><strong>Yes, I also can't articulate my clean 
  ideas as well with&nbsp;a bass guitar or a lute. What is the 
  point?&nbsp;&nbsp; Pick any electric guitar that is setup the way you like. 
  Play it clean, play it with lots of gain. That is the context I am working 
  with here.&nbsp; Test it. Test others. See how often the hypothesis is true. 
  </strong></font></div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div>--does that mean that your current instrument setup (whatever it might 
  be) is generating an illusion of technique? &nbsp;I don't think so. </div>
  <div>&nbsp;</div>
  <div><strong>No. In the case you bring up,&nbsp;the unusual string gauge and 
  action&nbsp;is just hindering me. Use the strings and action you are 
  comfortable with, then let the tests begin. Technique is technique. Create a 
  level playing field, and then you&nbsp;can&nbsp;either play the notes fluidly 
  and with accuracy,&nbsp;or you can't.&nbsp; A lot of distortion may in fact 
  conceal this&nbsp;on some cases, but it doesn't change the fact.&nbsp; I can 
  pickup an electric with high gain and race up and down the neck with 
  arpeggios, in that classic Malmsteen or Paul Gilbert fashion. I can do this as 
  fast as I can and it sounds fairly fluid, but I can't turn around and do it on 
  the electric with a clean tone. I have to slow down and maintain more control 
  over my instrument.&nbsp; The high gain, compression, and ultra sensitivity 
  allows a lot of things that one couldn't ordinarily do with a clean tone while 
  sounding just as controlled and articulate. I'm really not saying much more 
  than that here. </strong></div>
  <div><br></div>
  <div>Whatever tools make it easiest to produce your desired end result, by all 
  means, use those, but the whole "make the young bucks play through a clean 
  amp" thing doesn't make sense to me. &nbsp;Is anyone surprised when that sort 
  of playing doesn't sound great through the wrong amp settings?&nbsp;&nbsp; 
  </div>
  <div>&nbsp;</div>
  <div><strong>Wrong amp settings? What does that mean? I am not talking about 
  what sounds "great" or "good", or what is "wrong" or "right". This is purely a 
  matter of technicality, and I dare not introduce what "sounds good" into the 
  conversation, because that is an entirely different and subjective matter 
  regarding taste.&nbsp; I am talking about pure physical technicality and the 
  raw ability to create notes with accuracy and fluidity with a clean vs. high 
  gain tone.&nbsp; You can perform the test with any guitar or amp. Doesn't 
  matter to me.&nbsp; And the easiest test to perform is to have someone (could 
  be yourself as well) who is very good at playing fast and seemingly articulate 
  on an electric with high gain, and then see if they can do it with a clean 
  tone. And it can be the clean tone of their preference, with the guitar and 
  amp of their preference. It is a basic test.&nbsp;&nbsp; I performed it on 
  myself, and could not play the same thing with a clean tone. There is nothing 
  wrong with that. It just means that I am taking advantage of the high gain to 
  do things I can't do on with a clean tone. It does not mean I am a bad player, 
  though I can say that I have aspired now to be able to play only things that I 
  "can" play with&nbsp;a clean tone, and that has made me a better player. Now 
  when I go back to the electric, I am even more articulate. So, the crutch 
  proved to be a useful tool.&nbsp; It forced me to sit down for years with a 
  clean tone and really gain control over my instrument....though I am still 
  working on this and it is a lifelong process.</strong></div>
  <div><font face="Arial" size="2"></font><font face="Arial" size="2"></font><br></div>
  <div><font face="Arial" size="2">K-</font></div>
  <div><font face="Arial" size="2"></font><br><br>
  <div class="gmail_quote">On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com"><a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a></a>></span> 
  wrote:<br>
  <blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
    <div bgcolor="#ffffff">
    <div><font face="Arial" size="2">Yes, I understand where you are coming from, 
    and they seem like&nbsp; valid points.&nbsp; Though the points I made still 
    stand true to my own evolution as a guitarist.&nbsp; High gain generated an 
    elusion of technicality that could not be re-produced with clean tone, 
    regardless of&nbsp;who it touched, whether it was miced, or any of the 
    separate skills required to play the electric with high gain&nbsp;(which I 
    fully understand, having played the electric for almost 30 years). And I am 
    sure I can sit down with 10 young bucks walking on the streat who&nbsp;play 
    screamin' licks on the electric, and test my theory with a clean&nbsp;tone. 
    &nbsp;&nbsp; 
/K</font></div></div></blockquote></div></div></blockquote>
</div></blockquote></body></html>
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 Mikkoz <biffoz@gmail.com> wrote:
Yes, we all choose a voice with which to speak.  What I really find
bothersome here is the incessant emphasis of mechanics over art, and
single-minded effort to get us all to fall in line.

I agree entirely, one of the reasons that I have not been able to contribute
to this thread untill Ricks (inspiring) "clean-up and sweep" mail, is the
notion of many in this thread (or percieved notion) that there is a correct
(or incorrect way) way to play a guitar! Whats all this talk of technique?
Whats all this talk of tone? Blimey if you WANT to shred, you just CANT do
it on a pedal steel with no distortion!!! If you WANT TO sound like Jesus
and Mary Chain, whats the point of testing your skill by changing to the
clean channel? If you PLAY undistorted jazz, with complicated 6thSUS DIM
chords.. er... well you get the point.

I do find the occasional thread about guitar tone and skillful playing an
eyeopener, coming as I do from (what sometime seems to be) a completely
diferent mind-set, but I hope LD is still the forum for discussing feedback
loops (just discovered the devi ever distortions -
http://www.deviever.com/fx/ Talking of LOOPING - and TONE SUCKING -  what
about this WONDERFUL thing--- http://www.deviever.com/fx/eyeofgod/index.html)

oh and...

 andy butler <akbutler@tiscali.co.uk> wrote:

> Art Simon wrote:
>
>> The harmonic content of a distorted sound is vastly more complex than
>> a clean one.
>
>

>
>>  the evidence for that being????
>
>
Um... hehe... yep... Andys sarkily true of course... the more distorted a
waveform gets, the more like a regular square wave one gets, therefore a
distortion is in actual fact... a CLEANER waveform that undistorted!!! ???

Infact.. MY favorite distortion, is to use a Blacet Modular synth module
called the Frequency divider, it is infact a binary counter that tracks an
imput... outputs a squarewave, in various octaves and 5ths.. NASTY!!! but
very very NICE!!!

Tone??? What tone??


:-)))



Mark
-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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 Mikkoz <span dir="ltr">&lt;<a href="mailto:biffoz@gmail.com">biffoz@gmail.com</a>&gt;</span> wrote:<br>Yes,
we all choose a voice with which to speak.&nbsp; What I really find
bothersome here is the incessant emphasis of mechanics over art, and
single-minded effort to get us all to fall in line. <br><br>I agree entirely, one of the reasons that I have not been able to contribute to this thread untill Ricks (inspiring) &quot;clean-up and sweep&quot; mail, is the notion of many in this thread (or percieved notion) that there is a correct (or incorrect way) way to play a guitar! Whats all this talk of technique? Whats all this talk of tone? Blimey if you WANT to shred, you just CANT do it on a pedal steel with no distortion!!! If you WANT TO sound like Jesus and Mary Chain, whats the point of testing your skill by changing to the clean channel? If you PLAY undistorted jazz, with complicated 6thSUS DIM chords.. er... well you get the point.<br>
<br>I do find the occasional thread about guitar tone and skillful playing an eyeopener, coming as I do from (what sometime seems to be) a completely diferent mind-set, but I hope LD is still the forum for discussing feedback loops (just discovered the devi ever distortions - <a href="http://www.deviever.com/fx/">http://www.deviever.com/fx/</a> Talking of LOOPING - and TONE SUCKING -&nbsp; what about this WONDERFUL thing--- <a href="http://www.deviever.com/fx/eyeofgod/index.html">http://www.deviever.com/fx/eyeofgod/index.html</a> )<br>
<br>oh and...<br><br><div class="gmail_quote">&nbsp;andy butler <span dir="ltr">&lt;<a href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d">
Art Simon wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
The harmonic content of a distorted sound is vastly more complex than<br>
a clean one. </blockquote></div></blockquote><div>&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class="Ih2E3d"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
</blockquote>
</div>
the evidence for that being????<br>
<br>
</blockquote></div><br clear="all">Um... hehe... yep... Andys sarkily true of course... the more distorted a waveform gets, the more like a regular square wave one gets, therefore a distortion is in actual fact... a CLEANER waveform that undistorted!!! ???<br>
<br>Infact.. MY favorite distortion, is to use a Blacet Modular synth module called the Frequency divider, it is infact a binary counter that tracks an imput... outputs a squarewave, in various octaves and 5ths.. NASTY!!! but very very NICE!!!<br>
<br>Tone??? What tone??<br><br><br>:-)))<br><br><br><br>Mark<br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

------=_Part_63064_10186372.1229773492949--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 11:57:03 2008
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Subject: Re: Mahavishnu Orchestra:  seminal recordings    was:    one guitarist one drummer
Date: Sat, 20 Dec 2008 11:56:52 -0000
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From: "tEd ® KiLLiAn" <tedkillian@charter.net>
>I never got to see the Mahvishnu Orchestra live.
>
> I got to see John McLaughlin live with his "Belo Horizonte" era group once 
> . . . and a later group with Dennis Chambers (another marvelous drummer), 
> organist Joey DeFrancesco, and some young bass player who's name I forget 
> back in '97 or '98.
>
> I bought all the LPs, 8-tracks, cassettes and CDs that they (and he) ever 
> put out though.
>
> My first introduction to John and the M.O. was the old "In Concert" TV 
> program they used to put on in the US.
>
> Concert footage of them performing a couple of pieces from "Birds of Fire" 
> was broadcast and I was totally hooked for life.
>
> I believe one of the pieces they did was "One Word" that had a rather 
> mind-blowing drum solo in it.
>
> The thing I always loved about Johns early playing is that it was so 
> fiery, passionate and furious as to be almost out of control at one moment 
> . . . and then tender and lyrical a little later on in the same song.
>
> I am by no means anything near the musician McLaughlin is but that ability 
> to couple fury and abandon with lyrical tenderness and sensitivity is 
> something that has been a deep DNA-level influence on me.
>
> And what can you say about Billy Cobham?
>
> He's still out touring and making music too (I've a friend that plays in 
> his band).
>
> McLaughlin has continued to make music too . . . but although I'm still a 
> fan, his music seems less passionate, and much more "in control", tidy and 
> concise.
>
> I really regret not having been able to see the first version of the M.O. 
> live in person.
>
> I hear there are some decent DVDs out now containing come of that 
> material.
>
> If John and Billy ever went out and traded jab "toe-to-toe" like they did 
> in those days they'd be a thing to see (and hear).
>
> Nostalgia? Yes in deed.
>
> Best regards,
>
> tEd ® KiLLiAn
>
> http://www.myspace.com/tedkillian
> http://www.reverbnation.com/tedkillian
> http://www.pfmentum.com/PFMCD007.html
> http://www.CDbaby.com/cd/tedkillian
> http://www.guitar9.com/fluxaeterna.html
> http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
> http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768
>
> Ted Killian's "Flux Aeterna" is also available at Apple iTunes
>
> "You can safely assume that you've created God in your own image when it 
> turns out that God hates all the same people you do."  —  Anne Lamott 
> (Traveling Mercies, although on page 22 of Bird by Bird she attributes 
> this quote to "my priest friend Tom")
>
> On Dec 18, 2008, at 11:05 PM, Rick Walker wrote:
>
>> Stephen Goodman wrote:
>> "Woof, yes please.  I wore out two lp's of "Inner Mounting Flame" before 
>> CDs came out. Post Fripp's CGT and GC works, a listen to that album also 
>> holds lovely bits of quiet."
>>
>>
>> A friend of mine in college (right as I was just becoming intrigued by 
>> jazz but new nothing about it
>> except what our father played---Bruebeck, some Miles, Big Band)
>> recommended that we go early to an Emerson, Lake and Palmer concert at 
>> Winterland which we had
>> tickets for because there was this famous British Jazz guitarist,   John 
>> MCGlafflin (how he pronounced it)
>> who had played with Miles on "In a Silent Way".
>>
>> Dutifully I convinced my brother to go early enough to watch this opening 
>> act, called
>> The Mahavishnu Orchestra.
>>
>> They came out and Cobham opened the show with the fastest drum roll I'd 
>> ever heard in my life
>> as McLaughlin ripped into Inner Mounting Flame on his double necked 
>> gibson 6/12 string electric.
>>
>> One of the most amazing shows of my life and when we ran to the record 
>> store to buy it the next week
>> we found out that it had not even been released yet.
>>
>> We had to wait two weeks and I, too, have worn out two vinyl copies of 
>> that beautiful  and completely
>> life changing record for me.
>>
>> We were jazz fusion fanatics from that point on until the juice ran out 
>> of the scene and
>> the whole KOOL jazz thing coopted it all.
>>
>> Yeah,  great fucking record.
>>
>> If you are young on this list and haven't heard that record, or it's 
>> follow up ,  "Birds of Fire"
>> do yourself a favor and listen to some absolutely blistering and 
>> passionate music.
>>
>> It was when fusion was brand new and everyone was taking huge chances.
>> It has the rawness of punk rock and it's palpable to this day (whereas a 
>> lot of later fusion
>> classics have lost a lot of their charm).

I had the frenzied privilege (though I didn't fully appreciate it at the 
time as I was a combination of heavily buzzed and concentrating on sneaking 
back home to NJ before my parents got home!) of seeing the concert in 
Central Park from which the "Between Nothingness and Eternity" album was 
taken, middle of August 1973.  I too remember the haircut situation with 
John M. - seemed like dissonance from what he sounded like on the radio of 
course... but when one saw him play, who @% cared if he had hair or not!

Sigh.

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Date: Sat, 20 Dec 2008 13:06:47 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
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On Sat, Dec 20, 2008 at 12:56 PM, SP Goodman <spgoodman@earthlight.net> wrote:
> I had the frenzied privilege (though I didn't fully appreciate it at the
> time as I was a combination of heavily buzzed and concentrating on sneaking
> back home to NJ before my parents got home!) of seeing the concert in
> Central Park from which the "Between Nothingness and Eternity" album was
> taken, middle of August 1973.  I too remember the haircut situation with
> John M. - seemed like dissonance from what he sounded like on the radio of
> course... but when one saw him play, who @% cared if he had hair or not!


Wow, cool to hear you were there! I found that record second hand here
in Sweden in 1975 and totally loved it! But one side of the vinyl had
a crack and wasn't playable all through so I had to manually move the
pickup over the crack and sort of mentally imagine how the "non
cracked" flow of music would be. Just recently I found it again as mp3
files on some music sharing community and could fully enjoy the second
side of that disc (quite some years later, he. he... ) Rather lousy
recording but the great playing from the band makes up for that many
times. This live album is as close I ever got to hear the band play
live, much better than the studio album IMHO.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Interesting topic.
As usual, this kind of discussion can expand to infinity...and it's  
good and interesting to know the different perspectives of other  
musicians.
As a classical trained pianist, I can understand the matter of things  
Kris is talking about. It has nothing to do with musical taste,  
audience reaction or absolute judgements about this or that "final  
result".
When I was young and started playing  music with friends I noticed  
that  was easy for guitarists using high gain and distortion get good  
results, what that make me notice how different it was to get the same  
"final result" for me, as a pianist playing keyboards...
The point is that when those guitarists and I sat down with just a  
piano and an acoustic guitar they didn't seems to have the same  
ability in "expression". So I can see the point: it depends by your  
ability in articulation, as Kris said, and at the end, by the control  
of your body and "domination" you have on your instrument.
In analogy, talking about "clean sound" I could say that that's the  
same different between playing fast and playing slow.
This is something I learnt studying Bach and that everyone here has  
personally tested, I think: that is more easy to "look" like a good  
player when playing fast, but we all know how more difficult is  
playing a slow piece of music giving "honour" and the right presence  
to each single note.
Articulation and control...again.

Fabio


If I well understand he's talking about
When I got speed and fluidity in playing classical music I was amazed


Il giorno 20/dic/08, alle ore 01:14, "Krispen Hartung" <info@krispenhartung.com 
 > ha scritto:

>
> Yeah, but you probably also can't play your articulate clean ideas  
> with much heavier strings and higher action than you're currently  
> using
>
> Yes, I also can't articulate my clean ideas as well with a bass  
> guitar or a lute. What is the point?   Pick any electric guitar that  
> is setup the way you like. Play it clean, play it with lots of gain.  
> That is the context I am working with here.  Test it. Test others.  
> See how often the hypothesis is true.
>
> --does that mean that your current instrument setup (whatever it  
> might    be) is generating an illusion of technique?  I don't think  
> so.
>
> No. In the case you bring up, the unusual string gauge and action is  
> just hindering me. Use the strings and action you are comfortable  
> with, then let the tests begin. Technique is technique. Create a  
> level playing field, and then you can either play the notes fluidly  
> and with accuracy, or you can't.  A lot of distortion may in fact  
> conceal this on some cases, but it doesn't change the fact.  I can  
> pickup an electric with high gain and race up and down the neck with  
> arpeggios, in that classic Malmsteen or Paul Gilbert fashion. I can  
> do this as fast as I can and it sounds fairly fluid, but I can't  
> turn around and do it on the electric with a clean tone. I have to  
> slow down and maintain more control over my instrument.  The high  
> gain, compression, and ultra sensitivity allows a lot of things that  
> one couldn't ordinarily do with a clean tone while sounding just as  
> controlled and articulate. I'm really not saying much more    than  
> that here.
>
> Whatever tools make it easiest to produce your desired end result,  
> by all means, use those, but the whole "make the young bucks play  
> through a clean amp" thing doesn't make sense to me.  Is anyone  
> surprised when that sort of playing doesn't sound great through the  
> wrong amp settings?
>
> Wrong amp settings? What does that mean? I am not talking about what  
> sounds "great" or "good", or what is "wrong" or "right". This is  
> purely a matter of technicality, and I dare not introduce what  
> "sounds good" into the conversation, because that is an entirely  
> different and subjective matter regarding taste.  I am talking about  
> pure physical technicality and the raw ability to create notes with  
> accuracy and fluidity with a clean vs. high gain tone.  You can  
> perform the test with any guitar or amp. Doesn't matter to me.  And  
> the easiest test to perform is to have someone (could be yourself as  
> well) who is very good at playing fast and seemingly articulate on  
> an electric with high gain, and then see if they can do it with a  
> clean    tone. And it can be the clean tone of their preference,  
> with the guitar and amp of their preference. It is a basic test.   I  
> performed it on myself, and could not play the same thing with a  
> clean tone. There is nothing wrong with that. It just means that I  
> am taking advantage of the high gain to do things I can't do on with  
> a clean tone. It does not mean I am a bad player, though I can say  
> that I have aspired now to be able to play only things that I "can"  
> play with a clean tone, and that has made me a better player. Now  
> when I go back to the electric, I am even more articulate. So, the  
> crutch proved to be a useful tool.  It forced me to sit down for  
> years with a clean tone and really gain control over my  
> instrument....though I am still working on this and it is a lifelong  
> process.
>
> K-
>
>
> On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung <info@krispenhartung.com 
> > wrote:
> Yes, I understand where you are coming from, and they seem like   
> valid points.  Though the points I made still stand true to my own  
> evolution as a guitarist.  High gain generated an elusion of  
> technicality that could not be re-produced with clean tone,  
> regardless of who it touched, whether it was miced, or any of the  
> separate skills required to play the electric with high gain (which  
> I fully understand, having played the electric for almost 30 years).  
> And I am      sure I can sit down with 10 young bucks walking on the  
> streat who play screamin' licks on the electric, and test my theory  
> with a clean tone.    /K

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<html><body bgcolor=3D"#FFFFFF"><div>Interesting topic.</div><div>As =
usual, this kind of discussion can expand to infinity...and it's good =
and interesting to know the different perspectives of other =
musicians.&nbsp;</div><div>As a classical trained pianist, I can =
understand the matter of things Kris is talking about. It has nothing to =
do with musical taste, audience reaction or absolute judgements about =
this or that "final result".&nbsp;</div><div>When I was young and =
started playing &nbsp;music with friends I noticed that &nbsp;was easy =
for guitarists using high gain and distortion get good results, what =
that make me notice how different it was to get the same "final result" =
for me, as a pianist playing keyboards...</div><div>The point is that =
when those guitarists and I sat down with just a piano and an acoustic =
guitar they didn't seems to have the same ability in "expression". So I =
can see the point: it depends by your ability in articulation, as Kris =
said, and at the end, by the control of your body and "domination" you =
have on your instrument.</div><div>In analogy, talking about "clean =
sound" I could say that that's the same different between playing fast =
and playing slow.&nbsp;</div><div>This is something I learnt studying =
Bach and that everyone here has personally tested, I think: that is more =
easy to "look" like a good player when playing fast, but we all know how =
more difficult is playing a slow piece of music giving "honour" and the =
right presence to each single note.</div><div>Articulation and =
control...again.</div><div><br></div><div>Fabio &nbsp; &nbsp; =
&nbsp;&nbsp;</div><div><br></div><div><br></div><div>If I well =
understand he's talking about<span class=3D"Apple-style-span" =
style=3D"-webkit-composition-fill-color: rgba(175, 192, 227, 0.231373); =
-webkit-composition-frame-color: rgba(77, 128, 180, 0.231373); =
">&nbsp;</span></div><div>When I got speed and fluidity in playing =
classical music I was amazed</div><div>&nbsp;</div><div><br>Il giorno =
20/dic/08, alle ore 01:14, "Krispen Hartung" &lt;<a =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</a>> ha =
scritto:<br><br></div><div></div><blockquote type=3D"cite"><div>

<div><font face=3D"Arial" size=3D"2"></font>&nbsp;</div>
<blockquote dir=3D"ltr" style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; =
MARGIN-LEFT: 5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <div>Yeah, but you probably also can't play your articulate clean =
ideas with=20
  much heavier strings and higher action than you're currently =
using</div>
  <div><font face=3D"Arial" size=3D"2"></font>&nbsp;</div>
  <div><font face=3D"Arial" size=3D"2"><strong>Yes, I also can't =
articulate my clean=20
  ideas as well with&nbsp;a bass guitar or a lute. What is the=20
  point?&nbsp;&nbsp; Pick any electric guitar that is setup the way you =
like.=20
  Play it clean, play it with lots of gain. That is the context I am =
working=20
  with here.&nbsp; Test it. Test others. See how often the hypothesis is =
true.=20
  </strong></font></div>
  <div><font face=3D"Arial" size=3D"2"></font>&nbsp;</div>
  <div>--does that mean that your current instrument setup (whatever it =
might=20
  be) is generating an illusion of technique? &nbsp;I don't think so. =
</div>
  <div>&nbsp;</div>
  <div><strong>No. In the case you bring up,&nbsp;the unusual string =
gauge and=20
  action&nbsp;is just hindering me. Use the strings and action you are=20=

  comfortable with, then let the tests begin. Technique is technique. =
Create a=20
  level playing field, and then you&nbsp;can&nbsp;either play the notes =
fluidly=20
  and with accuracy,&nbsp;or you can't.&nbsp; A lot of distortion may in =
fact=20
  conceal this&nbsp;on some cases, but it doesn't change the fact.&nbsp; =
I can=20
  pickup an electric with high gain and race up and down the neck with=20=

  arpeggios, in that classic Malmsteen or Paul Gilbert fashion. I can do =
this as=20
  fast as I can and it sounds fairly fluid, but I can't turn around and =
do it on=20
  the electric with a clean tone. I have to slow down and maintain more =
control=20
  over my instrument.&nbsp; The high gain, compression, and ultra =
sensitivity=20
  allows a lot of things that one couldn't ordinarily do with a clean =
tone while=20
  sounding just as controlled and articulate. I'm really not saying much =
more=20
  than that here. </strong></div>
  <div><br></div>
  <div>Whatever tools make it easiest to produce your desired end =
result, by all=20
  means, use those, but the whole "make the young bucks play through a =
clean=20
  amp" thing doesn't make sense to me. &nbsp;Is anyone surprised when =
that sort=20
  of playing doesn't sound great through the wrong amp =
settings?&nbsp;&nbsp;=20
  </div>
  <div>&nbsp;</div>
  <div><strong>Wrong amp settings? What does that mean? I am not talking =
about=20
  what sounds "great" or "good", or what is "wrong" or "right". This is =
purely a=20
  matter of technicality, and I dare not introduce what "sounds good" =
into the=20
  conversation, because that is an entirely different and subjective =
matter=20
  regarding taste.&nbsp; I am talking about pure physical technicality =
and the=20
  raw ability to create notes with accuracy and fluidity with a clean =
vs. high=20
  gain tone.&nbsp; You can perform the test with any guitar or amp. =
Doesn't=20
  matter to me.&nbsp; And the easiest test to perform is to have someone =
(could=20
  be yourself as well) who is very good at playing fast and seemingly =
articulate=20
  on an electric with high gain, and then see if they can do it with a =
clean=20
  tone. And it can be the clean tone of their preference, with the =
guitar and=20
  amp of their preference. It is a basic test.&nbsp;&nbsp; I performed =
it on=20
  myself, and could not play the same thing with a clean tone. There is =
nothing=20
  wrong with that. It just means that I am taking advantage of the high =
gain to=20
  do things I can't do on with a clean tone. It does not mean I am a bad =
player,=20
  though I can say that I have aspired now to be able to play only =
things that I=20
  "can" play with&nbsp;a clean tone, and that has made me a better =
player. Now=20
  when I go back to the electric, I am even more articulate. So, the =
crutch=20
  proved to be a useful tool.&nbsp; It forced me to sit down for years =
with a=20
  clean tone and really gain control over my instrument....though I am =
still=20
  working on this and it is a lifelong process.</strong></div>
  <div><font face=3D"Arial" size=3D"2"></font><font face=3D"Arial" =
size=3D"2"></font><br></div>
  <div><font face=3D"Arial" size=3D"2">K-</font></div>
  <div><font face=3D"Arial" size=3D"2"></font><br><br>
  <div class=3D"gmail_quote">On Fri, Dec 19, 2008 at 2:58 PM, Krispen =
Hartung <span dir=3D"ltr">&lt;<a =
href=3D"mailto:info@krispenhartung.com"><a =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</a></a>></=
span>=20
  wrote:<br>
  <blockquote class=3D"gmail_quote" style=3D"PADDING-LEFT: 1ex; MARGIN: =
0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
    <div bgcolor=3D"#ffffff">
    <div><font face=3D"Arial" size=3D"2">Yes, I understand where you are =
coming from,=20
    and they seem like&nbsp; valid points.&nbsp; Though the points I =
made still=20
    stand true to my own evolution as a guitarist.&nbsp; High gain =
generated an=20
    elusion of technicality that could not be re-produced with clean =
tone,=20
    regardless of&nbsp;who it touched, whether it was miced, or any of =
the=20
    separate skills required to play the electric with high =
gain&nbsp;(which I=20
    fully understand, having played the electric for almost 30 years). =
And I am=20
    sure I can sit down with 10 young bucks walking on the streat =
who&nbsp;play=20
    screamin' licks on the electric, and test my theory with a =
clean&nbsp;tone.=20
    &nbsp;&nbsp;=20
/K</font></div></div></blockquote></div></div></blockquote>
</div></blockquote></body></html>=

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As a guitarist who likes country clean and completely out/noise/sound playing as well as jazz, ?I think that whatever works, works. I love Neil Young as much as I love Albert Lee. They get very different sounds and tones but at the end of the day it is really whatever speaks to you. I tend to view electric guitars - whether played clean or dirty as completely different animals than acoustic guitars. Being proficient on one does not mean you will be proficient on the other. 

I think my favorite players are people who have a broad range of sounds and keep things sonically interesting. Nels Cline, Bill Frisell, Fripp, Belew, Torn, the list goes on and on.

As Belew says in his instructional video, "In the end you really need to know how to play" or something to that effect. Sonics should not be an excuse for lack of ideas or technique.

=-) PJ


-----Original Message-----
From: mark francombe <mark@markfrancombe.com>
To: Loopers-Delight@loopers-delight.com
Sent: Sat, 20 Dec 2008 6:44 am
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo


Mikkoz <biffoz@gmail.com> wrote:
Yes, we all choose a voice with which to speak.? What I really find bothersome here is the incessant emphasis of mechanics over art, and single-minded effort to get us all to fall in line. 

I agree entirely, one of the reasons that I have not been able to contribute to this thread untill Ricks (inspiring) "clean-up and sweep" mail, is the notion of many in this thread (or percieved notion) that there is a correct (or incorrect way) way to play a guitar! Whats all this talk of technique? Whats all this talk of tone? Blimey if you WANT to shred, you just CANT do it on a pedal steel with no distortion!!! If you WANT TO sound like Jesus and Mary Chain, whats the point of testing your skill by changing to the clean channel? If you PLAY undistorted jazz, with complicated 6thSUS DIM chords.. er... well you get the point.

I do find the occasional thread about guitar tone and skillful playing an eyeopener, coming as I do from (what sometime seems to be) a completely diferent mind-set, but I hope LD is still the forum for discussing feedback loops (just discovered the devi ever distortions - http://www.deviever.com/fx/ Talking of LOOPING - and TONE SUCKING -? what about this WONDERFUL thing--- http://www.deviever.com/fx/eyeofgod/index.html )

oh and...


?andy butler <akbutler@tiscali.co.uk> wrote:


Art Simon wrote:

The harmonic content of a distorted sound is vastly more complex than
a clean one. 



?






the evidence for that being????




Um... hehe... yep... Andys sarkily true of course... the more distorted a waveform gets, the more like a regular square wave one gets, therefore a distortion is in actual fact... a CLEANER waveform that undistorted!!! ???

Infact.. MY favorite distortion, is to use a Blacet Modular synth module called the Frequency divider, it is infact a binary counter that tracks an imput... outputs a squarewave, in various octaves and 5ths.. NASTY!!! but very very NICE!!!

Tone??? What tone??


:-)))



Mark
-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no


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<WBR>As a guitarist who likes country clean and completely out/noise/sound playing as well as jazz, &nbsp;I think that whatever works, works. I love Neil Young as much as I love Albert Lee. They get very different sounds and tones but at the end of the day it is really whatever speaks to you. I tend to view electric guitars - whether played clean or dirty as completely different animals than acoustic guitars. Being proficient on one does not mean you will be proficient on the other. <br>
<br>
I think my favorite players are people who have a broad range of sounds and keep things sonically interesting. Nels Cline, Bill Frisell, Fripp, Belew, Torn, the list goes on and on.<br>
<br>
As Belew says in his instructional video, "In the end you really need to know how to play" or something to that effect. Sonics should not be an excuse for lack of ideas or technique.<br>
<br>
=-) PJ<br>
<br>
<br>
-----Original Message-----<br>
From: mark francombe &lt;mark@markfrancombe.com&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Sat, 20 Dec 2008 6:44 am<br>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo<br>
<br>


<div id=AOLMsgPart_2_c0961aea-6768-484e-b705-eecca5e4da15>Mikkoz <SPAN dir=ltr>&lt;<A href="mailto:biffoz@gmail.com">biffoz@gmail.com</A>&gt;</SPAN> wrote:<br>
Yes, we all choose a voice with which to speak.&nbsp; What I really find bothersome here is the incessant emphasis of mechanics over art, and single-minded effort to get us all to fall in line. <br>
<br>
I agree entirely, one of the reasons that I have not been able to contribute to this thread untill Ricks (inspiring) "clean-up and sweep" mail, is the notion of many in this thread (or percieved notion) that there is a correct (or incorrect way) way to play a guitar! Whats all this talk of technique? Whats all this talk of tone? Blimey if you WANT to shred, you just CANT do it on a pedal steel with no distortion!!! If you WANT TO sound like Jesus and Mary Chain, whats the point of testing your skill by changing to the clean channel? If you PLAY undistorted jazz, with complicated 6thSUS DIM chords.. er... well you get the point.<br>
<br>
I do find the occasional thread about guitar tone and skillful playing an eyeopener, coming as I do from (what sometime seems to be) a completely diferent mind-set, but I hope LD is still the forum for discussing feedback loops (just discovered the devi ever distortions - <A href="http://www.deviever.com/fx/" target=_blank>http://www.deviever.com/fx/</A> Talking of LOOPING - and TONE SUCKING -&nbsp; what about this WONDERFUL thing--- <A href="http://www.deviever.com/fx/eyeofgod/index.html" target=_blank>http://www.deviever.com/fx/eyeofgod/index.html</A> )<br>
<br>
oh and...<br>
<br>


<div class=gmail_quote>&nbsp;andy butler <SPAN dir=ltr>&lt;<A href="mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</A>&gt;</SPAN> wrote:<br>

<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">

<div class=Ih2E3d>Art Simon wrote:<br>

<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">The harmonic content of a distorted sound is vastly more complex than<br>
a clean one. </BLOCKQUOTE></div>
</BLOCKQUOTE>

<div>&nbsp;</div>

<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid">

<div class=Ih2E3d>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: rgb(204,204,204) 1px solid"><br>
</BLOCKQUOTE></div>
the evidence for that being????<br>
<br>
</BLOCKQUOTE></div>
<BR clear=all>Um... hehe... yep... Andys sarkily true of course... the more distorted a waveform gets, the more like a regular square wave one gets, therefore a distortion is in actual fact... a CLEANER waveform that undistorted!!! ???<br>
<br>
Infact.. MY favorite distortion, is to use a Blacet Modular synth module called the Frequency divider, it is infact a binary counter that tracks an imput... outputs a squarewave, in various octaves and 5ths.. NASTY!!! but very very NICE!!!<br>
<br>
Tone??? What tone??<br>
<br>
<br>
:-)))<br>
<br>
<br>
<br>
Mark<br>
-- <br>
<A href="http://www.markfrancombe.com/" target=_blank>www.markfrancombe.com</A><br>
<A href="http://vimeo.com/user825094" target=_blank>http://vimeo.com/user825094</A><br>
<A href="http://uk.youtube.com/user/markfrancombe" target=_blank>http://uk.youtube.com/user/markfrancombe</A><br>
<A href="http://www.myspace.com/markfrancombe" target=_blank>http://www.myspace.com/markfrancombe</A><br>
<A href="http://www.looop.no/" target=_blank>www.looop.no</A><br>
</div>
<!-- end of AOLMsgPart_2_c0961aea-6768-484e-b705-eecca5e4da15 --><div id='MAILCIADB018-5bb3494ce90528b' class='aol_ad_footer'><BR/><FONT style="color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style="MARGIN-TOP: 10px"></HR>Listen to 350+ music, sports, & news radio stations &#150; including songs for the holidays &#150; FREE while you browse. <a href="http://toolbar.aol.com/aolradio/download.html?ncid=emlweusdown00000013">Start Listening Now</a>! </div>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 12:49:53 2008
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Date: Sat, 20 Dec 2008 06:43:13 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Quoting Eterogenus <eterogenus@gmail.com>:
>
> Interesting topic.
> As usual, this kind of discussion can expand to infinity...and it's
> good and interesting to know the different perspectives of other
> musicians.
> As a classical trained pianist, I can understand the matter of things
> Kris is talking about. It has nothing to do with musical taste,
> audience reaction or absolute judgements about this or that "final
> result".
>
I have enjoyed following this thread.

Sometimes art is reactionary.  For example, it would be possible for  
me to hear a set that has a lot of rapid passages and decide that I  
want to try to incorporate something similar into my music --- or -- I  
may decide to push the opposite direction.

In reading the "distorted vs clean" topic, what came to mind was:

"Loopers unplugged!"

:)

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 13:15:13 2008
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Date: Sat, 20 Dec 2008 08:12:15 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #611 for December 18, 2008.
To: undisclosed-recipients:;
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http://wdiy.org/programs/gt/playlists/2008/081218.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 #611                December 18, 2008.

RECAP:
On this show, I continued the month-long focus on the Tangerine Dream.
The Featured CD at Midnight was Summer in Nagasaki on Eastgate Records.

Tangerine Dream:
http://wdiy.org/programs/gt/playlists/2008/focus.html#dec


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Ryan Wise            Wall Rush            Gleam (none)
Hotel Hotel          The Captain Goes     The Sad Sea (Silber)
                       Down With the Ship - sinking
Hotel Hotel          The Captain Goes     The Sad Sea (Silber)
                       Down With the Ship - drowning
Ian Tescee           Earthrise            A Traveler's Guide To Mars
                                            (none)
Mahoney and Peck     It's Full of Stars   Starfest 2007 (none)
Northern Valentine   Born Yesterday       The Distance Brings Us Closer
                                            (Silber)
Kees Aerts           Decision Time        If One Door Closes (Groove)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Tangerine Dream      Climbing Mount       Summer in Nagasaki (Eastgate)
                       Inasa
Tangerine Dream      In the Cherry        Summer in Nagasaki (Eastgate)
                       Blossom Hills
Tangerine Dream      Mystery of Life and  Summer in Nagasaki (Eastgate)
                       Death
Tangerine Dream      Dreaming In a Kyoto  Summer in Nagasaki (Eastgate)
                       Train
Tangerine Dream      Ayumi's Butterflies  Summer in Nagasaki (Eastgate)
Tangerine Dream      Presentiment         Summer in Nagasaki (Eastgate)
Tangerine Dream      11:02                Summer in Nagasaki (Eastgate)

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
Tangerine Dream.  The Featured CD at Midnight will be Autumn in
Hiroshima on Eastgate Records.

Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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
MySpace: http://myspace.com/galactictravels
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://war.str3am.com:7880/listen.pls
http://mysite.verizon.net/schlhserky/wdiystreamtests/hearwdiy.asx
http://mysite.verizon.net/schlhserky/wdiystreamtests/hearwdiy2.ram
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

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 08:50:46 -0500
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Arrghh! Now i want to put a Fuzz Factory into the loop of the Eye Of =
God! Did you check out that Peep also? =
http://www.deviever.com/fx/peep/index.html , these people are just =
wrong! Too many boxes that I want to try.=20
Thanks a bunch Mark, crap...http://www.deviever.com/fx/

Jeff
  ----- Original Message -----=20
  From: mark francombe=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, December 20, 2008 6:44 AM
  Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret =
goo


  Mikkoz <biffoz@gmail.com> wrote:
  Yes, we all choose a voice with which to speak.  What I really find =
bothersome here is the incessant emphasis of mechanics over art, and =
single-minded effort to get us all to fall in line.=20

  I agree entirely, one of the reasons that I have not been able to =
contribute to this thread untill Ricks (inspiring) "clean-up and sweep" =
mail, is the notion of many in this thread (or percieved notion) that =
there is a correct (or incorrect way) way to play a guitar! Whats all =
this talk of technique? Whats all this talk of tone? Blimey if you WANT =
to shred, you just CANT do it on a pedal steel with no distortion!!! If =
you WANT TO sound like Jesus and Mary Chain, whats the point of testing =
your skill by changing to the clean channel? If you PLAY undistorted =
jazz, with complicated 6thSUS DIM chords.. er... well you get the point.

  I do find the occasional thread about guitar tone and skillful playing =
an eyeopener, coming as I do from (what sometime seems to be) a =
completely diferent mind-set, but I hope LD is still the forum for =
discussing feedback loops (just discovered the devi ever distortions - =
http://www.deviever.com/fx/ Talking of LOOPING - and TONE SUCKING -  =
what about this WONDERFUL thing--- =
http://www.deviever.com/fx/eyeofgod/index.html )

  oh and...


   andy butler <akbutler@tiscali.co.uk> wrote:

    Art Simon wrote:

      The harmonic content of a distorted sound is vastly more complex =
than
      a clean one.=20



    the evidence for that being????



  Um... hehe... yep... Andys sarkily true of course... the more =
distorted a waveform gets, the more like a regular square wave one gets, =
therefore a distortion is in actual fact... a CLEANER waveform that =
undistorted!!! ???

  Infact.. MY favorite distortion, is to use a Blacet Modular synth =
module called the Frequency divider, it is infact a binary counter that =
tracks an imput... outputs a squarewave, in various octaves and 5ths.. =
NASTY!!! but very very NICE!!!

  Tone??? What tone??


  :-)))



  Mark
  --=20
  www.markfrancombe.com
  http://vimeo.com/user825094
  http://uk.youtube.com/user/markfrancombe
  http://www.myspace.com/markfrancombe
  www.looop.no



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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.9.19/1857 - Release Date: =
12/19/2008 10:09 AM

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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>Arrghh! Now i want to put a Fuzz =
Factory into the=20
loop of the Eye Of God! Did you check out that Peep also? <A=20
href=3D"http://www.deviever.com/fx/peep/index.html">http://www.deviever.c=
om/fx/peep/index.html</A>&nbsp;,=20
these people are just wrong! Too many boxes that I want to try. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>Thanks a bunch Mark,=20
crap...http://www.deviever.com/fx/</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3Dmark@markfrancombe.com =
href=3D"mailto:mark@markfrancombe.com">mark=20
  francombe</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, December 20, =
2008 6:44=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: distortion,=20
  overdrive,fuzz,crunch,special sauce, secret goo</DIV>
  <DIV><BR></DIV>Mikkoz <SPAN dir=3Dltr>&lt;<A=20
  href=3D"mailto:biffoz@gmail.com">biffoz@gmail.com</A>&gt;</SPAN> =
wrote:<BR>Yes,=20
  we all choose a voice with which to speak.&nbsp; What I really find =
bothersome=20
  here is the incessant emphasis of mechanics over art, and =
single-minded effort=20
  to get us all to fall in line. <BR><BR>I agree entirely, one of the =
reasons=20
  that I have not been able to contribute to this thread untill Ricks=20
  (inspiring) "clean-up and sweep" mail, is the notion of many in this =
thread=20
  (or percieved notion) that there is a correct (or incorrect way) way =
to play a=20
  guitar! Whats all this talk of technique? Whats all this talk of tone? =
Blimey=20
  if you WANT to shred, you just CANT do it on a pedal steel with no=20
  distortion!!! If you WANT TO sound like Jesus and Mary Chain, whats =
the point=20
  of testing your skill by changing to the clean channel? If you PLAY=20
  undistorted jazz, with complicated 6thSUS DIM chords.. er... well you =
get the=20
  point.<BR><BR>I do find the occasional thread about guitar tone and =
skillful=20
  playing an eyeopener, coming as I do from (what sometime seems to be) =
a=20
  completely diferent mind-set, but I hope LD is still the forum for =
discussing=20
  feedback loops (just discovered the devi ever distortions - <A=20
  href=3D"http://www.deviever.com/fx/">http://www.deviever.com/fx/</A> =
Talking of=20
  LOOPING - and TONE SUCKING -&nbsp; what about this WONDERFUL thing--- =
<A=20
  =
href=3D"http://www.deviever.com/fx/eyeofgod/index.html">http://www.deviev=
er.com/fx/eyeofgod/index.html</A>=20
  )<BR><BR>oh and...<BR><BR>
  <DIV class=3Dgmail_quote>&nbsp;andy butler <SPAN dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</A>&gt;</SP=
AN>=20
  wrote:<BR>
  <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 class=3DIh2E3d>Art Simon wrote:<BR>
    <BLOCKQUOTE class=3Dgmail_quote=20
    style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">The=20
      harmonic content of a distorted sound is vastly more complex =
than<BR>a=20
      clean one. </BLOCKQUOTE></DIV></BLOCKQUOTE>
  <DIV>&nbsp;</DIV>
  <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 class=3DIh2E3d>
    <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></BLOCKQUOTE></DIV>the=20
    evidence for that being????<BR><BR></BLOCKQUOTE></DIV><BR =
clear=3Dall>Um...=20
  hehe... yep... Andys sarkily true of course... the more distorted a =
waveform=20
  gets, the more like a regular square wave one gets, therefore a =
distortion is=20
  in actual fact... a CLEANER waveform that undistorted!!! =
???<BR><BR>Infact..=20
  MY favorite distortion, is to use a Blacet Modular synth module called =
the=20
  Frequency divider, it is infact a binary counter that tracks an =
imput...=20
  outputs a squarewave, in various octaves and 5ths.. NASTY!!! but very =
very=20
  NICE!!!<BR><BR>Tone??? What =
tone??<BR><BR><BR>:-)))<BR><BR><BR><BR>Mark<BR>--=20
  <BR><A =
href=3D"http://www.markfrancombe.com">www.markfrancombe.com</A><BR><A=20
  =
href=3D"http://vimeo.com/user825094">http://vimeo.com/user825094</A><BR><=
A=20
  =
href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/u=
ser/markfrancombe</A><BR><A=20
  =
href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mark=
francombe</A><BR><A=20
  href=3D"http://www.looop.no">www.looop.no</A><BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.19/1857 -=20
  Release Date: 12/19/2008 10:09 AM<BR></BLOCKQUOTE></BODY></HTML>

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Date: Sat, 20 Dec 2008 14:16:09 +0000
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George Ludwig wrote:

>  
> Anyone want to buy my ADA MP-1? I'm the original owner...
> 

ideal for a looping guitarist.
Saveable sounds.
Clean accurate transistor tones,
or switch to clean valve,
slight crunch
or up to "a lot" of distortion.
( and the tone controls can make up for not playing through a gtr speaker
if you go DI)

Apparently it's based on the pre-amp of the Mesa-Boogie amps.

andy butler

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Date: Sat, 20 Dec 2008 09:14:59 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Amadeus ... wow ... what to say ...

It. Just. Does. The. Job!

I've used it so much for most of my work, though I have also been using
Audacity for cross-platform work (recently bought an Acer Aspire One and am
hacking away with it under both XP and Ubuntu Studio!).

Best,

Dennis

On Fri, Dec 19, 2008 at 9:11 PM, Per Boysen <perboysen@gmail.com> wrote:

> Amadeus is for Mac only. And it's my favorite sample editor on Mac.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 19, 2008 at 7:55 PM, Matthias Grob <matilists@atarde.com.br>
> wrote:
> > did you try Amadeus?
> > I never used Sound Forge, but I prefer Amadeus over Peak for stereo
> > edit/conversion...
> >
> > On 19 Dec 2008, at 13:36, Per Boysen wrote:
> >
> >> Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came
> >> for Mac SoundForge is the last Windows application I have not found a
> >> Mac equivalent to. There's Peak and Wavelab for Mac but neither of
> >> them is as fast and simple as SoundForge, IMHO.
> >>
> >> Greetings from Sweden
> >>
> >> Per Boysen
> >> www.boysen.se (Swedish)
> >> www.looproom.com (international)
> >> www.ubetoo.com/Artist.taf?_ArtistId=6550
> >>
> >>
> >>
> >> On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke <jeff_d@embarqmail.com>
> wrote:
> >>>
> >>> Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and
> I
> >>> can
> >>> use stills also. I have alot to learn with it. It's really deeper than
> I
> >>> care to go but it does work well with Sony Sound Forge. All pc but
> >>> similar
> >>> capabilities perhaps.
> >>
> >
> >
>
>


-- 
http://myspace.com/usrsbin
http://audiozoloft.com
http://usrslashsbin.angrek.com/

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Amadeus ... wow ... what to say ... <br><br>It. Just. Does. The. Job!<br><br>I&#39;ve used it so much for most of my work, though I have also been using Audacity for cross-platform work (recently bought an Acer Aspire One and am hacking away with it under both XP and Ubuntu Studio!).<br>
<br>Best,<br><br>Dennis<br><br><div class="gmail_quote">On Fri, Dec 19, 2008 at 9:11 PM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Amadeus is for Mac only. And it&#39;s my favorite sample editor on Mac.<br>
<div class="Ih2E3d"><br>
Greetings from Sweden<br>
<br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
<br>
<br>
</div><div><div></div><div class="Wj3C7c">On Fri, Dec 19, 2008 at 7:55 PM, Matthias Grob &lt;<a href="mailto:matilists@atarde.com.br">matilists@atarde.com.br</a>&gt; wrote:<br>
&gt; did you try Amadeus?<br>
&gt; I never used Sound Forge, but I prefer Amadeus over Peak for stereo<br>
&gt; edit/conversion...<br>
&gt;<br>
&gt; On 19 Dec 2008, at 13:36, Per Boysen wrote:<br>
&gt;<br>
&gt;&gt; Yep, Vegas rocks on Windows! I use Sound Forge too. Since Mobius came<br>
&gt;&gt; for Mac SoundForge is the last Windows application I have not found a<br>
&gt;&gt; Mac equivalent to. There&#39;s Peak and Wavelab for Mac but neither of<br>
&gt;&gt; them is as fast and simple as SoundForge, IMHO.<br>
&gt;&gt;<br>
&gt;&gt; Greetings from Sweden<br>
&gt;&gt;<br>
&gt;&gt; Per Boysen<br>
&gt;&gt; <a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
&gt;&gt; <a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
&gt;&gt; <a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt;<br>
&gt;&gt; On Fri, Dec 19, 2008 at 5:28 PM, Jeff Duke &lt;<a href="mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</a>&gt; wrote:<br>
&gt;&gt;&gt;<br>
&gt;&gt;&gt; Thanks Per, I should of mentioned that I use Sony Vegas 9 Platinum and I<br>
&gt;&gt;&gt; can<br>
&gt;&gt;&gt; use stills also. I have alot to learn with it. It&#39;s really deeper than I<br>
&gt;&gt;&gt; care to go but it does work well with Sony Sound Forge. All pc but<br>
&gt;&gt;&gt; similar<br>
&gt;&gt;&gt; capabilities perhaps.<br>
&gt;&gt;<br>
&gt;<br>
&gt;<br>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://myspace.com/usrsbin">http://myspace.com/usrsbin</a><br><a href="http://audiozoloft.com">http://audiozoloft.com</a><br><a href="http://usrslashsbin.angrek.com/">http://usrslashsbin.angrek.com/</a><br>


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From: Chris Sewell <midifriedchicken@comcast.net>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 09:24:28 -0500
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Some of my favorite players have horrendous distortion tones. Mike  
Stern, Jerry Garcia, Scofield. STP.
Some guys I loathe have beautiful sounds, The Creed guy, Most new metal.

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 14:27:20 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Totally agreed and respect your points, Rick, which leads me to wonder why 
some folks are taking my original post so far out into the weeds of false 
association. I merely said that I preferred Nel's clean tone on an album, 
not preferring his distorted tone.  Some folks interpret this as I am making 
an artistic judgment about works done with high gain/distorted tone, which 
would clearly be false representation of my point. I like a lot of 
guitarists who use gain and distortion....my CD collection is packed full of 
them. Scofield, one of my all time favorite guitarists, uses a touch of gain 
to define his tone, which I really love. Then I went on a different topic of 
saying how high gain and distortion can actually smooth over problems with 
articulation and control, when you try to play the same thing with tone. 
And we can test this. I validated it with myself over many years, and 
corrected it. And others seem to confirm the same. Then of course, this 
wandered off into the weeds with a series of attempted counter-examples that 
had nothing to do with my original point, that I am neglecting art or the 
final output, or that the case falls apart if you switch instruments setup 
in a way that you are not accustomed too...all not really having anything to 
do with my original point.

So, the thread appears to have evolved into another set of discussion 
points, which is cool - but I won't get into a debate about what has more 
artistic merit, playing clean or playing with gain and distortion, because I 
think I think arguing about that is just plain absurd and is an illegitimate 
topic of discussion, generating only dispute, misunderstanding, and 
resentment.

Kris

----- Original Message ----- 

> I've been following this thread avidly because I am currently in love
> with distortion, fuzz and overdrives in my own work lately
> (and have spend stupid money that I didn't really have buying
> up stomp box pedals in the vein).
>
> I totally hear what both Krispen and Bill are saying, viz a vis, the fact 
> that
> heavily distorted guitars over heavily overdriven amps at high volume can 
> cause
> a compression of both volume and a compression of timbre that can really
> both limit nuance and dynamics and also, potentially, hide poor technique.
>
> At the same time,    I'm not a guitarist (though I own several) and I 
> don't tend to think like a
> guitarist.
>
> I have neither skill or nuance in my 6 string playing, but I do think like 
> a multi-instrumentalist
> and a composer and I love the timbral range that is available with all 
> kinds of different distortions, overdrives,
> feedbackers  and fuzzes.
>
> If I was only playing guitar in my peformances, then I think I would 
> probably avoid the kind of
> tones that can potentially put  Krispen and Bill off of Nels Clines' 
> sound.
>
> As a composer, though,  I find his sound absolutely fascinating, 
> sometimes, specifically because
> it IS linear and non dynamic.      I've also found that it is efficacious 
> in some composing to
> juxtapose musical lines that are very uni-dynamic against things that are 
> much more so.........the
> resultant contrast makes for interesting and very musical results.
>
> Trent Reznor has been really good at this:   using very monolithic sounds 
> (compressed to hell
> frequently) and then using a ton of dynamics in his vocals or in the rest 
> of his arrangements
> (even just controlling the volume of his heavily distorted sounds in his 
> mix)
>
> Lately,  I'm most attracted to sounds that are ridiculously 
> overdistorted........almost to the point
> of obscuring the melody being played.
>
> I recently produced a very small Noise Festival and used my Olympus 
> recorder to record my sets
> and the set of Bryan of Rape Shower fame.
> I wasn't able to check my settings and the entire thing clipped horribly 
> with digital
> distortion................arguably the ugliest distortion found.
>
> To my delight,  I went back and listened to some of Bryan's tracks which, 
> in a digital sound editor
> looked like solid black.   He had started his set out in a cool way , just 
> playing an old blues
> song, fairly straightforward before launching into a very loud and 
> aggressive noise set.
>
> The blues tune, distorted to square wave clipping sounded really cool to 
> my ears.
>
> Again, as my brother so wisely said,  everyone has their own aesthetic and 
> it's valid.
>
> I just wanted to put it out there that there is a lover on this list of
> stupid overly distorted sound.
>
> A student of mine who I just turned on to the My Bloody Valentine body of 
> work said,
> "...............I'm also rethinking distortion now; I've never heard so 
> much color in distortion before!....."
>
> Noise and the noise-esque sounds you can get with radical combinations of 
> distortion
> are the equivalent of White light.   They contain hundres of sine waves.
> To me the after the effect processing of such sounds can yield really 
> subtle and even
> quite melodic work.
>
> Yeah verily!
>
> 

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 14:35:15 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 07:35:14 -0700
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----- Original Message -----=20


  What I really find bothersome here is the incessant emphasis of =
mechanics over art, and single-minded effort to get us all to fall in =
line.=20

  Why would you assume this? You mean we can't have a focused discussion =
on a particular topic that happens to be technical or mechanical =
related, without you jumping to the conclusion that we are holding that =
particular topic as more important than art? That's sort of restrictive =
and a way of censoring our freedom of thought, wouldn't you say?=20

  Bottom line: Having the conversation doesn't mean that we don't =
understand or value the artistic elements of the music. That is a false =
cause or false association fallacy.   We are just having the damn =
conversation. I supposed experts in the marshal arts can't talk about =
the mechanics of their art (which are very important, btw), without =
disregarding their art? I don't think so. It's just a conversation about =
a specific point.

  We go about our personal disciplines to accomplish these choices of =
expression, then we take it into the artistic world to make our =
statements. Fuzz, no fuzz, dark, brite . . . some of my favorite moments =
in guitar are ones thet defy technique; how did they do THAT?! moments, =
and I've had them myself and relish the experience of confounding myself =
in the act of expression.

  So YEAH: As a guitar teacher, YES, I would encourage students to get a =
little technique and backbone, but I could give a shit once they hit the =
stage or recording studio. DID THEY MOVE ME OR NOT?

  Good for you. Most of us probably agree with you, I don't know why you =
are trying to stifle a discussion on a particular point that happens to =
be mechanical related, when we clearly have never made the claim that it =
is more important or valuable than the artistic element. I mean, who is =
going to argue for that?  That is a massive straw dog fallacy.  I built =
no such case, so I don't see the point of building it for the sake of =
tearing it down to look like a counter-argument of the original, =
isolated claim.
  Kris



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<META content=3D"MSHTML 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><FONT face=3DArial size=3D2></FONT><BR></DIV>
  <DIV>What I really find bothersome here is the incessant emphasis of =
mechanics=20
  over art, and single-minded effort to get us all to fall in line. =
</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Why would you assume this? =
You mean we=20
  can't have a focused discussion on a particular topic that happens to =
be=20
  technical or mechanical related, without you jumping to the conclusion =
that we=20
  are holding that particular topic as more important than art? That's =
sort of=20
  restrictive and a way of censoring our freedom of&nbsp;thought, =
wouldn't=20
  you&nbsp;say?&nbsp;</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Bottom line: Having the =
conversation=20
  doesn't mean that we don't understand or value the artistic elements =
of the=20
  music. That is a false cause or false association=20
  fallacy.</STRONG>&nbsp;<STRONG>&nbsp; We are just having the damn=20
  conversation. I supposed experts in the marshal arts can't talk about =
the=20
  mechanics of their art (which are very important, btw), without =
disregarding=20
  their art? I don't think so. It's just a conversation about a specific =

  point.</STRONG></FONT><BR><BR>We go about our personal disciplines to=20
  accomplish these choices of expression, then we take it into the =
artistic=20
  world to make our statements. Fuzz, no fuzz, dark, brite . . . some of =
my=20
  favorite moments in guitar are ones thet defy technique; how did they =
do=20
  THAT?! moments, and I've had them myself and relish the experience of=20
  confounding myself in the act of expression.<BR><BR>So YEAH: As a =
guitar=20
  teacher, YES, I would encourage students to get a little technique and =

  backbone, but I could give a shit once they hit the stage or recording =
studio.=20
  DID THEY MOVE ME OR NOT?</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Good for you. Most of us =
probably agree=20
  with you, I don't know why you are trying to stifle a discussion on a=20
  particular point that happens to be mechanical related, when we =
clearly have=20
  never made the claim that it is more important or valuable than the =
artistic=20
  element. I mean, who is going to argue for that?&nbsp; That is a =
massive straw=20
  dog fallacy.&nbsp; I built no such case, so I don't see the point of =
building=20
  it for the sake of tearing it down to look like a counter-argument of =
the=20
  original, isolated claim.</STRONG></FONT></DIV><FONT face=3DArial=20
size=3D2></FONT></BLOCKQUOTE>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><FONT face=3DArial size=3D2><STRONG>Kris</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><BR></DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 14:38:57 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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I thought you would have got it, Mark, rather than making a false =
association from my original post. Read my last post.  What I am saying =
and what you say below are entirely different discussions. Don't jump to =
an artistic related conclusion simply because I want to have a focused =
discussion on mechanics. My orginal point stands and has nothing to do =
with taste or artisitic merit.  One does not necessarily follow to the =
other.  This was not a point about tone, artistic merit, etc.=20

Kris

  ----- Original Message -----=20


  Mikkoz <biffoz@gmail.com> wrote:
  Yes, we all choose a voice with which to speak.  What I really find =
bothersome here is the incessant emphasis of mechanics over art, and =
single-minded effort to get us all to fall in line.=20

  I agree entirely, one of the reasons that I have not been able to =
contribute to this thread untill Ricks (inspiring) "clean-up and sweep" =
mail, is the notion of many in this thread (or percieved notion) that =
there is a correct (or incorrect way) way to play a guitar! Whats all =
this talk of technique? Whats all this talk of tone? Blimey if you WANT =
to shred, you just CANT do it on a pedal steel with no distortion!!! If =
you WANT TO sound like Jesus and Mary Chain, whats the point of testing =
your skill by changing to the clean channel? If you PLAY undistorted =
jazz, with complicated 6thSUS DIM chords.. er... well you get the point.

  I do find the occasional thread about guitar tone and skillful playing =
an eyeopener, coming as I do from (what sometime seems to be) a =
completely diferent mind-set, but I hope LD is still the forum for =
discussing feedback loops (just discovered the devi ever distortions - =
http://www.deviever.com/fx/ Talking of LOOPING - and TONE SUCKING -  =
what about this WONDERFUL thing--- =
http://www.deviever.com/fx/eyeofgod/index.html )

  oh and...


   andy butler <akbutler@tiscali.co.uk> wrote:

    Art Simon wrote:

      The harmonic content of a distorted sound is vastly more complex =
than
      a clean one.=20



    the evidence for that being????



  Um... hehe... yep... Andys sarkily true of course... the more =
distorted a waveform gets, the more like a regular square wave one gets, =
therefore a distortion is in actual fact... a CLEANER waveform that =
undistorted!!! ???

  Infact.. MY favorite distortion, is to use a Blacet Modular synth =
module called the Frequency divider, it is infact a binary counter that =
tracks an imput... outputs a squarewave, in various octaves and 5ths.. =
NASTY!!! but very very NICE!!!

  Tone??? What tone??


  :-)))



  Mark
  --=20
  www.markfrancombe.com
  http://vimeo.com/user825094
  http://uk.youtube.com/user/markfrancombe
  http://www.myspace.com/markfrancombe
  www.looop.no

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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I thought you would have got it, Mark, =
rather than=20
making a false association from my original post. Read my last =
post.&nbsp; What=20
I am saying and what you say below are entirely different discussions. =
Don't=20
jump to an artistic related conclusion simply because I want to have a =
focused=20
discussion on mechanics. My orginal point stands&nbsp;and has nothing =
to&nbsp;do=20
with taste or artisitic merit. &nbsp;One does not necessarily follow to =
the=20
other.&nbsp; This was not a point about tone, artistic merit, etc. =
</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>Mikkoz=20
  <SPAN dir=3Dltr>&lt;<A=20
  href=3D"mailto:biffoz@gmail.com">biffoz@gmail.com</A>&gt;</SPAN> =
wrote:<BR>Yes,=20
  we all choose a voice with which to speak.&nbsp; What I really find =
bothersome=20
  here is the incessant emphasis of mechanics over art, and =
single-minded effort=20
  to get us all to fall in line. <BR><BR>I agree entirely, one of the =
reasons=20
  that I have not been able to contribute to this thread untill Ricks=20
  (inspiring) "clean-up and sweep" mail, is the notion of many in this =
thread=20
  (or percieved notion) that there is a correct (or incorrect way) way =
to play a=20
  guitar! Whats all this talk of technique? Whats all this talk of tone? =
Blimey=20
  if you WANT to shred, you just CANT do it on a pedal steel with no=20
  distortion!!! If you WANT TO sound like Jesus and Mary Chain, whats =
the point=20
  of testing your skill by changing to the clean channel? If you PLAY=20
  undistorted jazz, with complicated 6thSUS DIM chords.. er... well you =
get the=20
  point.<BR><BR>I do find the occasional thread about guitar tone and =
skillful=20
  playing an eyeopener, coming as I do from (what sometime seems to be) =
a=20
  completely diferent mind-set, but I hope LD is still the forum for =
discussing=20
  feedback loops (just discovered the devi ever distortions - <A=20
  href=3D"http://www.deviever.com/fx/">http://www.deviever.com/fx/</A> =
Talking of=20
  LOOPING - and TONE SUCKING -&nbsp; what about this WONDERFUL thing--- =
<A=20
  =
href=3D"http://www.deviever.com/fx/eyeofgod/index.html">http://www.deviev=
er.com/fx/eyeofgod/index.html</A>=20
  )<BR><BR>oh and...<BR><BR>
  <DIV class=3Dgmail_quote>&nbsp;andy butler <SPAN dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:akbutler@tiscali.co.uk">akbutler@tiscali.co.uk</A>&gt;</SP=
AN>=20
  wrote:<BR>
  <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 class=3DIh2E3d>Art Simon wrote:<BR>
    <BLOCKQUOTE class=3Dgmail_quote=20
    style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">The=20
      harmonic content of a distorted sound is vastly more complex =
than<BR>a=20
      clean one. </BLOCKQUOTE></DIV></BLOCKQUOTE>
  <DIV>&nbsp;</DIV>
  <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 class=3DIh2E3d>
    <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></BLOCKQUOTE></DIV>the=20
    evidence for that being????<BR><BR></BLOCKQUOTE></DIV><BR =
clear=3Dall>Um...=20
  hehe... yep... Andys sarkily true of course... the more distorted a =
waveform=20
  gets, the more like a regular square wave one gets, therefore a =
distortion is=20
  in actual fact... a CLEANER waveform that undistorted!!! =
???<BR><BR>Infact..=20
  MY favorite distortion, is to use a Blacet Modular synth module called =
the=20
  Frequency divider, it is infact a binary counter that tracks an =
imput...=20
  outputs a squarewave, in various octaves and 5ths.. NASTY!!! but very =
very=20
  NICE!!!<BR><BR>Tone??? What =
tone??<BR><BR><BR>:-)))<BR><BR><BR><BR>Mark<BR>--=20
  <BR><A =
href=3D"http://www.markfrancombe.com">www.markfrancombe.com</A><BR><A=20
  =
href=3D"http://vimeo.com/user825094">http://vimeo.com/user825094</A><BR><=
A=20
  =
href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/u=
ser/markfrancombe</A><BR><A=20
  =
href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mark=
francombe</A><BR><A=20
  =
href=3D"http://www.looop.no">www.looop.no</A><BR></BLOCKQUOTE></BODY></HT=
ML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 14:51:39 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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  ----- Original Message -----=20


  As a classical trained pianist, I can understand the matter of things =
Kris is talking about. It has nothing to do with musical taste, audience =
reaction or absolute judgements about this or that "final result".=20

  Thank you, Fabio!  You understand what I was trying to say. Sometimes, =
it just takes more examples from others to clarify it.  And because of =
your profession, I think you also avoided the fallacies of jumping to =
the topic of judgment, final result, artistic merit, value, etc.

  Kris


  When I was young and started playing  music with friends I noticed =
that  was easy for guitarists using high gain and distortion get good =
results, what that make me notice how different it was to get the same =
"final result" for me, as a pianist playing keyboards...
  The point is that when those guitarists and I sat down with just a =
piano and an acoustic guitar they didn't seems to have the same ability =
in "expression". So I can see the point: it depends by your ability in =
articulation, as Kris said, and at the end, by the control of your body =
and "domination" you have on your instrument.
  In analogy, talking about "clean sound" I could say that that's the =
same different between playing fast and playing slow.=20
  This is something I learnt studying Bach and that everyone here has =
personally tested, I think: that is more easy to "look" like a good =
player when playing fast, but we all know how more difficult is playing =
a slow piece of music giving "honour" and the right presence to each =
single note.
  Articulation and control...again.


  Fabio      =20




  If I well understand he's talking about=20
  When I got speed and fluidity in playing classical music I was amazed


  Il giorno 20/dic/08, alle ore 01:14, "Krispen Hartung" =
<info@krispenhartung.com> ha scritto:



      Yeah, but you probably also can't play your articulate clean ideas =
with much heavier strings and higher action than you're currently using

      Yes, I also can't articulate my clean ideas as well with a bass =
guitar or a lute. What is the point?   Pick any electric guitar that is =
setup the way you like. Play it clean, play it with lots of gain. That =
is the context I am working with here.  Test it. Test others. See how =
often the hypothesis is true.=20

      --does that mean that your current instrument setup (whatever it =
might be) is generating an illusion of technique?  I don't think so.=20

      No. In the case you bring up, the unusual string gauge and action =
is just hindering me. Use the strings and action you are comfortable =
with, then let the tests begin. Technique is technique. Create a level =
playing field, and then you can either play the notes fluidly and with =
accuracy, or you can't.  A lot of distortion may in fact conceal this on =
some cases, but it doesn't change the fact.  I can pickup an electric =
with high gain and race up and down the neck with arpeggios, in that =
classic Malmsteen or Paul Gilbert fashion. I can do this as fast as I =
can and it sounds fairly fluid, but I can't turn around and do it on the =
electric with a clean tone. I have to slow down and maintain more =
control over my instrument.  The high gain, compression, and ultra =
sensitivity allows a lot of things that one couldn't ordinarily do with =
a clean tone while sounding just as controlled and articulate. I'm =
really not saying much more than that here.=20


      Whatever tools make it easiest to produce your desired end result, =
by all means, use those, but the whole "make the young bucks play =
through a clean amp" thing doesn't make sense to me.  Is anyone =
surprised when that sort of playing doesn't sound great through the =
wrong amp settings?  =20

      Wrong amp settings? What does that mean? I am not talking about =
what sounds "great" or "good", or what is "wrong" or "right". This is =
purely a matter of technicality, and I dare not introduce what "sounds =
good" into the conversation, because that is an entirely different and =
subjective matter regarding taste.  I am talking about pure physical =
technicality and the raw ability to create notes with accuracy and =
fluidity with a clean vs. high gain tone.  You can perform the test with =
any guitar or amp. Doesn't matter to me.  And the easiest test to =
perform is to have someone (could be yourself as well) who is very good =
at playing fast and seemingly articulate on an electric with high gain, =
and then see if they can do it with a clean tone. And it can be the =
clean tone of their preference, with the guitar and amp of their =
preference. It is a basic test.   I performed it on myself, and could =
not play the same thing with a clean tone. There is nothing wrong with =
that. It just means that I am taking advantage of the high gain to do =
things I can't do on with a clean tone. It does not mean I am a bad =
player, though I can say that I have aspired now to be able to play only =
things that I "can" play with a clean tone, and that has made me a =
better player. Now when I go back to the electric, I am even more =
articulate. So, the crutch proved to be a useful tool.  It forced me to =
sit down for years with a clean tone and really gain control over my =
instrument....though I am still working on this and it is a lifelong =
process.


      K-



      On Fri, Dec 19, 2008 at 2:58 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

        Yes, I understand where you are coming from, and they seem like  =
valid points.  Though the points I made still stand true to my own =
evolution as a guitarist.  High gain generated an elusion of =
technicality that could not be re-produced with clean tone, regardless =
of who it touched, whether it was miced, or any of the separate skills =
required to play the electric with high gain (which I fully understand, =
having played the electric for almost 30 years). And I am sure I can sit =
down with 10 young bucks walking on the streat who play screamin' licks =
on the electric, and test my theory with a clean tone.    /K
------=_NextPart_000_03E2_01C96277.C917F2F0
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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<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><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>As a classical trained pianist, I can understand the matter of =
things=20
  Kris is talking about. It has nothing to do with musical taste, =
audience=20
  reaction or absolute judgements about this or that "final =
result".&nbsp;</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Thank you, Fabio!&nbsp; You =
understand=20
  what I was trying to say. Sometimes, it just takes more examples from =
others=20
  to clarify it.&nbsp; And because of your profession, I think you also =
avoided=20
  the fallacies of jumping to the topic of judgment, final result, =
artistic=20
  merit, value, etc.</STRONG></FONT></DIV>
  <DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG>&nbsp;</DIV>
  <DIV><STRONG><FONT face=3DArial size=3D2>Kris</FONT></STRONG></DIV>
  <DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>When I was young and started playing &nbsp;music with friends I =
noticed=20
  that &nbsp;was easy for guitarists using high gain and distortion get =
good=20
  results, what that make me notice how different it was to get the same =
"final=20
  result" for me, as a pianist playing keyboards...</DIV>
  <DIV>The point is that when those guitarists and I sat down with just =
a piano=20
  and an acoustic guitar they didn't seems to have the same ability in=20
  "expression". So I can see the point: it depends by your ability in=20
  articulation, as Kris said, and at the end, by the control of your =
body and=20
  "domination" you have on your instrument.</DIV>
  <DIV>In analogy, talking about "clean sound" I could say that that's =
the same=20
  different between playing fast and playing slow.&nbsp;</DIV>
  <DIV>This is something I learnt studying Bach and that everyone here =
has=20
  personally tested, I think: that is more easy to "look" like a good =
player=20
  when playing fast, but we all know how more difficult is playing a =
slow piece=20
  of music giving "honour" and the right presence to each single =
note.</DIV>
  <DIV>Articulation and control...again.</DIV>
  <DIV><BR></DIV>
  <DIV>Fabio &nbsp; &nbsp; &nbsp;&nbsp;</DIV>
  <DIV><BR></DIV>
  <DIV><BR></DIV>
  <DIV>If I well understand he's talking about<SPAN =
class=3DApple-style-span=20
  style=3D"-webkit-composition-fill-color: rgba(175, 192, 227, =
0.231373); -webkit-composition-frame-color: rgba(77, 128, 180, =
0.231373)">&nbsp;</SPAN></DIV>
  <DIV>When I got speed and fluidity in playing classical music I was=20
  amazed</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><BR>Il giorno 20/dic/08, alle ore 01:14, "Krispen Hartung" &lt;<A =

  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt; =
ha=20
  scritto:<BR><BR></DIV>
  <DIV></DIV>
  <BLOCKQUOTE type=3D"cite">
    <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>Yeah, but you probably also can't play your articulate clean =
ideas=20
      with much heavier strings and higher action than you're currently=20
      using</DIV>
      <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
      <DIV><FONT face=3DArial size=3D2><STRONG>Yes, I also can't =
articulate my clean=20
      ideas as well with&nbsp;a bass guitar or a lute. What is the=20
      point?&nbsp;&nbsp; Pick any electric guitar that is setup the way =
you=20
      like. Play it clean, play it with lots of gain. That is the =
context I am=20
      working with here.&nbsp; Test it. Test others. See how often the=20
      hypothesis is true. </STRONG></FONT></DIV>
      <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
      <DIV>--does that mean that your current instrument setup (whatever =
it=20
      might be) is generating an illusion of technique? &nbsp;I don't =
think so.=20
      </DIV>
      <DIV>&nbsp;</DIV>
      <DIV><STRONG>No. In the case you bring up,&nbsp;the unusual string =
gauge=20
      and action&nbsp;is just hindering me. Use the strings and action =
you are=20
      comfortable with, then let the tests begin. Technique is =
technique. Create=20
      a level playing field, and then you&nbsp;can&nbsp;either play the =
notes=20
      fluidly and with accuracy,&nbsp;or you can't.&nbsp; A lot of =
distortion=20
      may in fact conceal this&nbsp;on some cases, but it doesn't change =
the=20
      fact.&nbsp; I can pickup an electric with high gain and race up =
and down=20
      the neck with arpeggios, in that classic Malmsteen or Paul Gilbert =

      fashion. I can do this as fast as I can and it sounds fairly =
fluid, but I=20
      can't turn around and do it on the electric with a clean tone. I =
have to=20
      slow down and maintain more control over my instrument.&nbsp; The =
high=20
      gain, compression, and ultra sensitivity allows a lot of things =
that one=20
      couldn't ordinarily do with a clean tone while sounding just as =
controlled=20
      and articulate. I'm really not saying much more than that here.=20
      </STRONG></DIV>
      <DIV><BR></DIV>
      <DIV>Whatever tools make it easiest to produce your desired end =
result, by=20
      all means, use those, but the whole "make the young bucks play =
through a=20
      clean amp" thing doesn't make sense to me. &nbsp;Is anyone =
surprised when=20
      that sort of playing doesn't sound great through the wrong amp=20
      settings?&nbsp;&nbsp; </DIV>
      <DIV>&nbsp;</DIV>
      <DIV><STRONG>Wrong amp settings? What does that mean? I am not =
talking=20
      about what sounds "great" or "good", or what is "wrong" or =
"right". This=20
      is purely a matter of technicality, and I dare not introduce what =
"sounds=20
      good" into the conversation, because that is an entirely different =
and=20
      subjective matter regarding taste.&nbsp; I am talking about pure =
physical=20
      technicality and the raw ability to create notes with accuracy and =

      fluidity with a clean vs. high gain tone.&nbsp; You can perform =
the test=20
      with any guitar or amp. Doesn't matter to me.&nbsp; And the =
easiest test=20
      to perform is to have someone (could be yourself as well) who is =
very good=20
      at playing fast and seemingly articulate on an electric with high =
gain,=20
      and then see if they can do it with a clean tone. And it can be =
the clean=20
      tone of their preference, with the guitar and amp of their =
preference. It=20
      is a basic test.&nbsp;&nbsp; I performed it on myself, and could =
not play=20
      the same thing with a clean tone. There is nothing wrong with =
that. It=20
      just means that I am taking advantage of the high gain to do =
things I=20
      can't do on with a clean tone. It does not mean I am a bad player, =
though=20
      I can say that I have aspired now to be able to play only things =
that I=20
      "can" play with&nbsp;a clean tone, and that has made me a better =
player.=20
      Now when I go back to the electric, I am even more articulate. So, =
the=20
      crutch proved to be a useful tool.&nbsp; It forced me to sit down =
for=20
      years with a clean tone and really gain control over my=20
      instrument....though I am still working on this and it is a =
lifelong=20
      process.</STRONG></DIV>
      <DIV><FONT face=3DArial size=3D2></FONT><FONT face=3DArial=20
      size=3D2></FONT><BR></DIV>
      <DIV><FONT face=3DArial size=3D2>K-</FONT></DIV>
      <DIV><FONT face=3DArial size=3D2></FONT><BR><BR>
      <DIV class=3Dgmail_quote>On Fri, Dec 19, 2008 at 2:58 PM, Krispen =
Hartung=20
      <SPAN dir=3Dltr>&lt;<A href=3D"mailto:info@krispenhartung.com"><A=20
      =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A></A>&g=
t;</SPAN>=20
      wrote:<BR>
      <BLOCKQUOTE class=3Dgmail_quote=20
      style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; =
BORDER-LEFT: #ccc 1px solid">
        <DIV bgcolor=3D"#ffffff">
        <DIV><FONT face=3DArial size=3D2>Yes, I understand where you are =
coming=20
        from, and they seem like&nbsp; valid points.&nbsp; Though the =
points I=20
        made still stand true to my own evolution as a guitarist.&nbsp; =
High=20
        gain generated an elusion of technicality that could not be =
re-produced=20
        with clean tone, regardless of&nbsp;who it touched, whether it =
was=20
        miced, or any of the separate skills required to play the =
electric with=20
        high gain&nbsp;(which I fully understand, having played the =
electric for=20
        almost 30 years). And I am sure I can sit down with 10 young =
bucks=20
        walking on the streat who&nbsp;play screamin' licks on the =
electric, and=20
        test my theory with a clean&nbsp;tone. &nbsp;&nbsp;=20
      =
/K</FONT></DIV></DIV></BLOCKQUOTE></DIV></DIV></BLOCKQUOTE></DIV></BLOCKQ=
UOTE></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_03E2_01C96277.C917F2F0--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 14:56:51 2008
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Date: Sat, 20 Dec 2008 15:56:50 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Although I'm considered to be among those "who don't know the
difference" by some, I found two things to be helpful when working
with distortion.

First of all, a distortion (or overdrive, fuzz, whatever) is by
definition a highly non-linear component. This means that it can (and
will) generate new frequencies (to phrase it simply), and that the
order of effects in a processing chain is of importance.
Taking conclusions from both of these, I found it sometimes to be
helpful to have some kind of EQ both before and after the distortion
stage. Akai once built a stomp box like this, but it was discontinued
rather quickly. When working with multi-effects devices or computers,
it's however easy to get that (e.g. on an Eclipse by using the chain
of 4 para EQ into one of the pre models (which feature a post EQ)).

Bill also mentioned the fact that some of the discussed effects have a
huge effect on the dynamics of your sound - which, basically, is the
nature of a nonlinear component. One thing I found to work rather
nicely when playing those hugely overloaded fuzz/crunch sounds is to
use an envelope follower on your input signal and use that to modulate
the output level of the distortion effect. With that, you get a "goes
to eleven" sound all the time, which still reacts in volume to your
playing.

            Rainer

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 08:37:38 -0600
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>
> Actually, I think we may agree. You could have just took that  
> passage out of context. In my example, I realized that I could play  
> with more "apparent" articulation and speed with high gain than  
> playing clean (this was years ago, of course), which compelled me  
> to work on my chops and techniqe playing clean. Now, I can play  
> better in both scenarios.  So, I do think that being able to  
> express yourself quickly (when appropriate) both with clean and  
> high gain is a more desired trait.  It means you are more  
> versatile, but more importantly not restricted when you play  
> clean.  Does that make sense?  Both are good, but in my example,  
> one did not translate into the other because with playing clean I  
> did not have the benfit of gain, overtones, distortion, high  
> sensitivity, etc smoothing over my articulation blemishes.  So once  
> you play fast and clean, you go back to playing fast and dirty, and  
> you are that much a better player.

Yes, we agree completely. I skimmed this thread too quickly and  
didn't put the quote in its broader context. Sorry about that.

Jeff
--Apple-Mail-1-221071899
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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><BR =
class=3D"khtml-block-placeholder"></DIV><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; "><BLOCKQUOTE =
dir=3D"ltr" style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
5px; BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: =
0px"><DIV>=A0</DIV><DIV><FONT face=3D"Arial" size=3D"2"><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Arial; font-size: 10px; =
">Actually, I think we=A0may agree. You=A0could have just=A0took that =
passage out of context. In my example, I realized that I could play with =
more "apparent" articulation and speed with high gain than playing clean =
(this was years ago, of course), which compelled me to work on my chops =
and techniqe playing clean. Now, I can play better in both scenarios.=A0 =
So, I do think that being able to express yourself quickly (when =
appropriate) both with clean and high gain is a more desired trait.=A0 =
It means you are more versatile, but more importantly not restricted =
when you play clean.=A0 Does that make sense?=A0 Both are good, but in =
my example, one did not translate into the other because with playing =
clean I did not have the benfit of gain, overtones, distortion, high =
sensitivity, etc smoothing over my articulation blemishes.=A0 So once =
you play fast and clean, you go back to playing fast and dirty, and you =
are that much a better =
player.</SPAN></FONT></DIV></BLOCKQUOTE></SPAN></BLOCKQUOTE></DIV><BR><DIV=
>Yes, we agree completely. I skimmed this thread too quickly and didn't =
put the quote in its broader context. Sorry about that.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jeff</DIV></BODY></HTML>=

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 08:43:19 -0700
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No problem, man.

I wonder if piano players have these same sort of discussions?  Or are =
guitarists just freaks of nature... :)  Tone, tone, tone....

Kris

  ----- Original Message -----=20






      Actually, I think we may agree. You could have just took that =
passage out of context. In my example, I realized that I could play with =
more "apparent" articulation and speed with high gain than playing clean =
(this was years ago, of course), which compelled me to work on my chops =
and techniqe playing clean. Now, I can play better in both scenarios.  =
So, I do think that being able to express yourself quickly (when =
appropriate) both with clean and high gain is a more desired trait.  It =
means you are more versatile, but more importantly not restricted when =
you play clean.  Does that make sense?  Both are good, but in my =
example, one did not translate into the other because with playing clean =
I did not have the benfit of gain, overtones, distortion, high =
sensitivity, etc smoothing over my articulation blemishes.  So once you =
play fast and clean, you go back to playing fast and dirty, and you are =
that much a better player.


  Yes, we agree completely. I skimmed this thread too quickly and didn't =
put the quote in its broader context. Sorry about that.


  Jeff
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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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY=20
style=3D"WORD-WRAP: break-word; -khtml-nbsp-mode: space; =
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bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>No problem, man.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>I wonder if piano players have these =
same sort of=20
discussions?&nbsp;&nbsp;Or are guitarists just freaks of nature... =
:)&nbsp;=20
Tone, tone, tone....</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><BR>
  <DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <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; =
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0px; -khtml-text-decorations-in-effect: none; -apple-text-size-adjust: =
auto; orphans: 2; widows: 2">
    <BLOCKQUOTE dir=3Dltr=20
    style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
      <DIV>&nbsp;</DIV>
      <DIV><FONT face=3DArial size=3D2><SPAN class=3DApple-style-span=20
      style=3D"FONT-SIZE: 10px; FONT-FAMILY: Arial">Actually, I think =
we&nbsp;may=20
      agree. You&nbsp;could have just&nbsp;took that passage out of =
context. In=20
      my example, I realized that I could play with more "apparent" =
articulation=20
      and speed with high gain than playing clean (this was years ago, =
of=20
      course), which compelled me to work on my chops and techniqe =
playing=20
      clean. Now, I can play better in both scenarios.&nbsp; So, I do =
think that=20
      being able to express yourself quickly (when appropriate) both =
with clean=20
      and high gain is a more desired trait.&nbsp; It means you are more =

      versatile, but more importantly not restricted when you play =
clean.&nbsp;=20
      Does that make sense?&nbsp; Both are good, but in my example, one =
did not=20
      translate into the other because with playing clean I did not have =
the=20
      benfit of gain, overtones, distortion, high sensitivity, etc =
smoothing=20
      over my articulation blemishes.&nbsp; So once you play fast and =
clean, you=20
      go back to playing fast and dirty, and you are that much a better=20
      =
player.</SPAN></FONT></DIV></BLOCKQUOTE></SPAN></BLOCKQUOTE></DIV><BR>
  <DIV>Yes, we agree completely. I skimmed this thread too quickly and =
didn't=20
  put the quote in its broader context. Sorry about that.</DIV>
  <DIV><BR class=3Dkhtml-block-placeholder></DIV>
  <DIV>Jeff</DIV></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 15:44:26 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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I think Rainer brings a new perspective into this discussion (quote
below). It's about morphing the guitar into the domain traditionally
dominated by synths (ADSR envelope, touch control, velocity etc).
Applying an Envelope Follow is quite new, but applying a volume pedal
may equally bring it home, if played accurately. Terje Rypdal comes to
mind here, using a volume pedal to make a wildly ripping distortion
sound gain a singing melodic character. Jerry Garcia developed a
custom solution by omitting the guitar's volume knob and feed his
guitar pickup output directly into the fuzzbox pedal on the floor.
Then he brought back the fuzzbox output into the guitar on a second
cable loop to run it through his guitar's volume knob before going to
the amp/speaker. This was a way of "applying volume pedal
functionality to his guitar knob". I know I would love that in a Strat
because I play a lot with the guitar's volume knob and am also a bit
sad that this leaves out those overly distorted NiN sounds, unless you
customize you guitar according to the Jerry Garcia trick. Haven't done
that yet though.

This leads to another technical aspect of guitar tone (not to be
confused with opinion on artistic output, referring to Kris post)
which is the guitar being a plucked string instrument - like the
piano, the harp etc. This mean that once you have plucked a string the
note will keep on vibrating according to the envelope implied by the
instrument's phsycial/mechanical resonance characteristics. There's
not much you can to to add expression to the tone once the string is
plucked (at least not compared to singing or playing wind
instruments). Gadgets to give the guitar more of this continuous tone
expression are the wha pedal, talkbox, sustainer and distortion (even
though distortion doesn't give much more control, it just messes with
the natural envelope of the instrument). Oh, I almost forgot
acoustic/mechanic feedback through the air, pioneered by Jimi Hendrix.
Then we should of course also mention legato style distortion players
like Alan Holdsworth.

I took to yet another method in order to gain a continuous control of
tone expression by multi sampling my favorite strat plying it through
my Sovtek/Marshall setup and building a dynamically morphing sample
patch to blow with an EWI. You loose some dimensions of physical
guitar playing but you win a lot of in terms of tone expression. If
anyone is curious what that sounds like, listen for the floating twang
bar strat sound at www.ubetoo.com/Artist.taf?_ArtistId=6550 in "The
Yogi and the Commissar".

Greetings from Sweden

Per Boysen





On Sat, Dec 20, 2008 at 3:56 PM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> One thing I found to work rather
> nicely when playing those hugely overloaded fuzz/crunch sounds is to
> use an envelope follower on your input signal and use that to modulate
> the output level of the distortion effect. With that, you get a "goes
> to eleven" sound all the time, which still reacts in volume to your
> playing.

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Some are. However, most of the guys I know that are in the trenches  
so to speak, the pros who are always working, seem to be far less  
obsessed. The guys that can tell you about the minute differences in  
vintage tubes, are usually playing in their basement.



On Dec 20, 2008, at 10:43 AM, Krispen Hartung wrote:

> No problem, man.
>
> I wonder if piano players have these same sort of discussions?  Or  
> are guitarists just freaks of nature... :)  Tone, tone, tone....
>
> Kris
>
> ----- Original Message -----
>
>
>
>>
>> Actually, I think we may agree. You could have just took that  
>> passage out of context. In my example, I realized that I could  
>> play with more "apparent" articulation and speed with high gain  
>> than playing clean (this was years ago, of course), which  
>> compelled me to work on my chops and techniqe playing clean. Now,  
>> I can play better in both scenarios.  So, I do think that being  
>> able to express yourself quickly (when appropriate) both with  
>> clean and high gain is a more desired trait.  It means you are  
>> more versatile, but more importantly not restricted when you play  
>> clean.  Does that make sense?  Both are good, but in my example,  
>> one did not translate into the other because with playing clean I  
>> did not have the benfit of gain, overtones, distortion, high  
>> sensitivity, etc smoothing over my articulation blemishes.  So  
>> once you play fast and clean, you go back to playing fast and  
>> dirty, and you are that much a better player.
>
> Yes, we agree completely. I skimmed this thread too quickly and  
> didn't put the quote in its broader context. Sorry about that.
>
> Jeff


--Apple-Mail-1-226595664
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Some are. However, most of the guys I know that are in the trenches so =
to speak, the pros who are always working, seem to be far less obsessed. =
The guys that can tell you about the minute differences in vintage =
tubes, are usually playing in their =
basement.=A0<div><br></div><div><br></div><div><br><div><div>On Dec 20, =
2008, at 10:43 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; 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><font face=3D"Arial" =
size=3D"2">No problem, man.</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><div><font face=3D"Arial" size=3D"2">I wonder =
if piano players have these same sort of discussions?=A0=A0Or are =
guitarists just freaks of nature... :)=A0 Tone, tone, =
tone....</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><div><font face=3D"Arial" =
size=3D"2">Kris</font></div><div><font face=3D"Arial" =
size=3D"2"></font>=A0</div><blockquote dir=3D"ltr" style=3D"padding-right:=
 0px; padding-left: 5px; margin-left: 5px; border-left-color: rgb(0, 0, =
0); border-left-width: 2px; border-left-style: solid; margin-right: 0px; =
"><div style=3D"font: normal normal normal 10pt/normal arial; ">----- =
Original Message -----</div><div style=3D"background-image: initial; =
background-repeat: initial; background-attachment: initial; =
-webkit-background-clip: initial; -webkit-background-origin: initial; =
background-color: rgb(228, 228, 228); font: normal normal normal =
10pt/normal arial; background-position: initial initial; =
">=A0</div><br><div><div><br =
class=3D"khtml-block-placeholder"></div><blockquote type=3D"cite"><span =
class=3D"Apple-style-span" style=3D"word-spacing: 0px; font: normal =
normal normal 12px/normal Helvetica; text-transform: none; color: rgb(0, =
0, 0); text-indent: 0px; white-space: normal; letter-spacing: normal; =
border-collapse: separate; -webkit-border-horizontal-spacing: 0px; =
-webkit-border-vertical-spacing: 0px; =
-webkit-text-decorations-in-effect: none; -webkit-text-size-adjust: =
auto; orphans: 2; widows: 2; "><blockquote dir=3D"ltr" =
style=3D"padding-right: 0px; padding-left: 5px; margin-left: 5px; =
border-left-color: rgb(0, 0, 0); border-left-width: 2px; =
border-left-style: solid; margin-right: 0px; "><div>=A0</div><div><font =
face=3D"Arial" size=3D"2"><span class=3D"Apple-style-span" =
style=3D"font-size: 10px; font-family: Arial; ">Actually, I think we=A0may=
 agree. You=A0could have just=A0took that passage out of context. In my =
example, I realized that I could play with more "apparent" articulation =
and speed with high gain than playing clean (this was years ago, of =
course), which compelled me to work on my chops and techniqe playing =
clean. Now, I can play better in both scenarios.=A0 So, I do think that =
being able to express yourself quickly (when appropriate) both with =
clean and high gain is a more desired trait.=A0 It means you are more =
versatile, but more importantly not restricted when you play clean.=A0 =
Does that make sense?=A0 Both are good, but in my example, one did not =
translate into the other because with playing clean I did not have the =
benfit of gain, overtones, distortion, high sensitivity, etc smoothing =
over my articulation blemishes.=A0 So once you play fast and clean, you =
go back to playing fast and dirty, and you are that much a better =
player.</span></font></div></blockquote></span></blockquote></div><br><div=
>Yes, we agree completely. I skimmed this thread too quickly and didn't =
put the quote in its broader context. Sorry about that.</div><div><br =
class=3D"khtml-block-placeholder"></div><div>Jeff</div></blockquote></span=
></blockquote></div><br></div></body></html>=

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Date: Sat, 20 Dec 2008 17:18:42 +0100
From: "Per Boysen" <perboysen@gmail.com>
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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> I wonder if piano players have these same sort of discussions?  Or are
> guitarists just freaks of nature... :)  Tone, tone, tone....


Not every guitar player enjoys putting time into discussing it but I
think everyone is well aware of all this. As I think other kind of
musicians equally are, piano players as well as saxists e all (know
all that is where it starts, they you just play). ARild Andersen said
something interesting in Sant CRuz last year when we had pizza and
wine, regarding the fact that he - as being a "pro" - needed so much
help in setting up his gear (looping parameters etc). He said that
every one of us only have twenty four hours a day to do whatever you
want to do and his usual choice is to put most of his hours into
playing the bass.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Krispen Hartung wrote:
> No problem, man.
>  
> I wonder if piano players have these same sort of discussions?  Or are 
> guitarists just freaks of nature... :)  Tone, tone, tone....
>  
> Kris
>  
well it seems to me that:-

Electric Guitar is the only instrument where "tone" is generally
held to come from "gear".
For all other instruments "tone" is referred to as an ability of the player.

andy butler


 

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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 Me personally, I wasn=92t trying to make a value judgment of any kind, =
just
stating an aesthetic preference. I like overdrive more than fuzz or
distortion.  Perhaps my older,  more ear damaged ears prefer the soft
clipping of overdrive, either natural amp or pedal or better yet, an
exciting m=E9lange of the two! Yummy, talk about secret sauce,  Boo! Ya!
=85=85..Also I find a good  overdrive is more use-able throughout its =
distortion
range, whereas many distortion and fuzz pedals reach a point of =
saturation
well  below the potentiometers full range, where they don=92t seem to =
give you
any more distortion, but they add noise and mud and so much compression =
that
you cease to have any dynamic range.  As far as the issue of hiding =
behind a
wall of distortion to hide bad technique=85=85..Hey I used to do that =
:-)
obviously, different styles require different instruments and string =
gauges.
A shredder dude would have difficulty adjusting to the kind of strings a
jazzbo uses, and vice versa . I=92m always amused when a shredder dude =
picks
up my strat or tele strung with heavier strings and tries to do the =
speed
thing, its equally amusing when a jazz guy picks up a metal guitar with
ultra light strings and can=92t handle the mushy response. I would agree =
that
playing clean will help ones technique to become cleaner, but from what =
I
can tell, a guy like Steve Vai has exceptionally refined technique, and =
also
has developed an extremely light left hand touch, which is valid =
technique
no matter what style you play. Principles of good technique apply no =
matter
what guitar you are playing or what gauge of strings. I actually =
encourage
young students to pick up the electric guitar first if that is what =
excites
them. I am not convinced that one has to start with acoustic before =
moving
to electric, although that is the conventional wisdom. From what I have =
seen
in my nearly 30 years as a private teacher is using the =93 you gotta =
start on
clarinet if you want to play saxophone=94  model  can just as easily =
destroy a
young students desire to learn, as it can motivate them. I=92ve never =
had a
student who started on electric and really got bitten by the music bug, =
fail
to  show interest in picking up the acoustic guitar at some point in =
their
development.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>=A0Me personally, I wasn&#8217;t trying to make a =
value
judgment of any kind, just stating an aesthetic preference. I like =
overdrive
more than fuzz or distortion.=A0 Perhaps my older,=A0 more ear damaged =
ears prefer
the soft clipping of overdrive, either natural amp or pedal or better =
yet, an
exciting m=E9lange of the two! Yummy, talk about secret sauce,=A0 Boo! =
Ya!
&#8230;&#8230;..Also I find a good=A0 overdrive is more use-able =
throughout its
distortion=A0 range, whereas many distortion and fuzz pedals reach a =
point of
saturation well=A0 below the potentiometers full range, where they =
don&#8217;t
seem to give you any more distortion, but they add noise and mud and so =
much
compression that you cease to have any dynamic range.=A0 As far as the =
issue of
hiding behind a wall of distortion to hide bad =
technique&#8230;&#8230;..Hey I
used to do that </span></font><font size=3D2 face=3DWingdings><span
style=3D'font-size:10.0pt;font-family:Wingdings'>J</span></font><font =
size=3D2
face=3DArial><span style=3D'font-size:10.0pt;font-family:Arial'>=A0 =
=A0obviously, different
styles require different instruments and string gauges. A shredder dude =
would
have difficulty adjusting to the kind of strings a jazzbo uses, and vice =
versa .
I&#8217;m always amused when a shredder dude picks up my strat or tele =
strung
with heavier strings and tries to do the speed thing, its equally =
amusing when
a jazz guy picks up a metal guitar with ultra light strings and =
can&#8217;t
handle the mushy response. I would agree that playing clean will help =
ones
technique to become cleaner, but from what I can tell, a guy like Steve =
Vai has
exceptionally refined technique, and also has developed an extremely =
light left
hand touch, which is valid technique no matter what style you play. =
Principles of
good technique apply no matter what guitar you are playing or what gauge =
of
strings. I actually encourage young students to pick up the electric =
guitar
first if that is what excites them. I am not convinced that one has to =
start
with acoustic before moving to electric, although that is the =
conventional
wisdom. From what I have seen in my nearly 30 years as a private teacher =
is
using the &#8220; you gotta start on clarinet if you want to play =
saxophone&#8221;
=A0model =A0can just as easily destroy a young students desire to learn, =
as it can
motivate them. I&#8217;ve never had a student who started on electric =
and
really got bitten by the music bug, fail to =A0show interest in picking =
up the
acoustic guitar at some point in their =
development.<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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To: Loopers-Delight@loopers-delight.com
Subject: Re: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
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was it hellborg?

2008/12/20 Raul Bonell <raul.bonell@gmail.com>

>
>
> 2008/12/19 tEd (R) KiLLiAn <tedkillian@charter.net>
>
>> , and some young bass player who's name I forget back in '97 or '98.
>>
>
>
>
>
> --
> 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
> TPO at Jamendo: http://www.jamendo.com
>



-- 
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
TPO at Jamendo: http://www.jamendo.com

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was it hellborg?<br><br><div class="gmail_quote">2008/12/20 Raul Bonell <span dir="ltr">&lt;<a href="mailto:raul.bonell@gmail.com">raul.bonell@gmail.com</a>&gt;</span><br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
<br><br><div class="gmail_quote">2008/12/19 tEd &reg; KiLLiAn <span dir="ltr">&lt;<a href="mailto:tedkillian@charter.net" target="_blank">tedkillian@charter.net</a>&gt;</span><div class="Ih2E3d"><br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">

, and some young bass player who&#39;s name I forget back in &#39;97 or &#39;98.<br></blockquote></div></div><font color="#888888"><br clear="all"><br><div><br></div><div><br>-- <br>The Playing Orchestra: <a href="http://www.telefonica.net/web2/tpo" target="_blank">http://www.telefonica.net/web2/tpo</a><br>

Chain Tape Collective: <a href="http://www.ct-collective.com" target="_blank">http://www.ct-collective.com</a><br>TPO at myspace: <a href="http://www.myspace.com/theplayingorchestra" target="_blank">http://www.myspace.com/theplayingorchestra</a><br>
TPO at Jamendo: <a href="http://www.jamendo.com" target="_blank">http://www.jamendo.com</a><br>

</div>
</font></blockquote></div><br><br clear="all"><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><br>TPO at Jamendo: <a href="http://www.jamendo.com">http://www.jamendo.com</a><br>

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> Electric Guitar is the only instrument where "tone" is generally held to =
come from "gear".
> For all other instruments "tone" is referred to as an ability of the play=
er.

Sorry Andy, but I believe you're wrong about that. It is
well-understood among pianists that e.g. a B=F6sendorfer sounds
different (and better) than a cheap Kawai and different (though not
necessarily better) than a Steinway. And the same is true for
trombones (and trombone mouthpieces), saxes (and sax mouthpieces and
reeds), and don't even start to discuss the "tone" of different
violins...

The difference with electric guitar with regard to other instruments
is that tone also comes from gear that is not considered part of the
instrument (amp, effects).

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 17:18:19 2008
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From: Chris Sewell <midifriedchicken@comcast.net>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 12:18:16 -0500
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My God, who gives a fuck. Seriously. I'm Out.
On Dec 20, 2008, at 12:14 PM, Rainer Straschill wrote:

>> Electric Guitar is the only instrument where "tone" is generally =20
>> held to come from "gear".
>> For all other instruments "tone" is referred to as an ability of =20
>> the player.
>
> Sorry Andy, but I believe you're wrong about that. It is
> well-understood among pianists that e.g. a B=F6sendorfer sounds
> different (and better) than a cheap Kawai and different (though not
> necessarily better) than a Steinway. And the same is true for
> trombones (and trombone mouthpieces), saxes (and sax mouthpieces and
> reeds), and don't even start to discuss the "tone" of different
> violins...
>
> The difference with electric guitar with regard to other instruments
> is that tone also comes from gear that is not considered part of the
> instrument (amp, effects).
>

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 17:31:31 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
Date: Sat, 20 Dec 2008 09:31:25 -0800
To: Loopers-Delight@loopers-delight.com
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No,

It was a young black guy (late teens or very early 20s).

I forget but I may know another way to find out . . .

Ah . . . yes.

I just dug through a drawer where I keep a lot of old "ephemera" and=20
found the ticket stub for the concert.

It was Matthew Garrison.

The whole linup was John MLaughlin and "The Heart of Things" band with:

Gary Thomas: Sax
Matthew Garrison: E-Bass
Dennis Chambers: Drums
Jim Beard: Piano

Joey DeFrancesco's trio (with Paul Bollenbeck on guitar) was the=20
opening act and Joey came out and played some totally smokin' jazz=20
organ with John at some point later in the later's set.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott (Traveling Mercies, although on page 22 of Bird by Bird she=20
attributes this quote to "my priest friend Tom")
On Dec 20, 2008, at 8:54 AM, Raul Bonell wrote:

> was it hellborg?
>
> 2008/12/20 Raul Bonell <raul.bonell@gmail.com>
>
>
> 2008/12/19 tEd =AE KiLLiAn <tedkillian@charter.net>
>
>  , and some young bass player who's name I forget back in '97 or '98.
>
>
>
>
> --=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
>  TPO at Jamendo: http://www.jamendo.com
>
>
>
> --=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
> TPO at Jamendo: http://www.jamendo.com

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 17:37:06 2008
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 drummer
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Oh man...he attended the notorious Boston music school when I did. When 
we found out who his father was (Jimmy...) he was regarded as a god, 
even before we heard him play. Naturally, that confirmed it. Nice guy, too.

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

> It was Matthew Garrison.
>
> The whole linup was John MLaughlin and "The Heart of Things" band with:
>
> Gary Thomas: Sax
> Matthew Garrison: E-Bass
> Dennis Chambers: Drums
> Jim Beard: Piano

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 17:50:43 2008
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Rainer Straschill wrote:
>> Electric Guitar is the only instrument where "tone" is generally held to come from "gear".
>> For all other instruments "tone" is referred to as an ability of the player.
> 
> Sorry Andy, but I believe you're wrong about that.

well let's not forget that I prefaced that statement with
"It seems to me that:-"

> It is
> well-understood among pianists that e.g. a Bösendorfer sounds
> different (and better) than a cheap Kawai and different (though not
> necessarily better) than a Steinway. 

yes, that's rather obvious.
The "sound" is very different.

I've always heard "tone" being referred to as an ability 
of the pianist, even though the nature of the piano mechanism
would seem at first glance to preclude that. 

> And the same is true for
> trombones (and trombone mouthpieces), saxes (and sax mouthpieces and
> reeds), 

brass players too..
"he can get a great tone out of any reed"...etc

> and don't even start to discuss the "tone" of different
> violins...

...and so many stories about the violinist who could borrow
a student's instrument an still get " his amazing tone"


> 
> The difference with electric guitar with regard to other instruments
> is that tone also comes from gear that is not considered part of the
> instrument (amp, effects).

Doesn't whether the amp/fx is considered part of the instrument depend
on who does the considering?

I think you're right though, that the use of amp/fx has significance
regarding this point.

The difference that I'm referring to is that players of other instruments make a more
definite distinction between "sound" of an instrument and "tone" of a player.


andy



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Date: Sat, 20 Dec 2008 19:01:06 +0100
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For the second time today I have to chime in with Rainer ;-))  One
example is the saxophone. Just the other week I lurked at a sax forum
and learned about mouth pieces and boy are those jazz saxists anal
about moth pieces! But they are right in every word. I've always been
looking for a sax sound that is big, wide and still soft (not that I
dislike a screaming tone, like Gato Garbieri, it just never felt
apliable to the music I make), my sax playing rather following the
tone attitude established by Ben Webster. Since not having any source
for better knowledge I have just been buying loads of sax mouth
pieces, starting in 1977, re-customized them with metal tools, ruined
many on the way, and tried them with all kind of reeds and done the
math to learn what creates tone on sax. Over the years I have came to
settle with a metal Otto Link nine star. Now, Otto Link is only one
out of fiver or six good brands on the market and the width of the
tone chamber and the opening between the metal and the bamboo slice is
available in 18 different variations, starting from number one, then
follows one star (just a little wider opening), two, two star, three,
three star etc etc. So the nine star, my favorite, actually has the
widest opening and the biggest tone chamber. I've had problems playing
written music with bands on that mouth pieces because it just eats
air. That makes it better suited for playing more improvised music
where you can sort of change the melodies to throw in some extra
spaces between the notes to inhale. Despite these issues I do
sincerely love this mouth piece because it gives such an extraordinary
"breathy" sound. My sax is also the ultimate axe for warm and clean
tone, since it is a silver Conn from 1929 - meaning it was built in
some thick sort of metal. What really caught my attention last week,
on this saxist forum, was that I got to learn that Ben Webster did
play an Otto Link metal nine, almost the same gadget I've ended up
with from simply picking one by ear and taste. I think this proves
that "gear" is essential for "tone" also in sax playing.

And I recently learned that it also is for flute playing, from talking
to a flute service tech guy at a trade show back in October. He said
that the crown (the plug at the end of the tube where no air is let
out) is crucial for both sound and the playability of the flute. My
reason for talking to this guy is that I want him to build me a new
crown with a hole for sticking in a mic in order to amplifying the
sound that lives inside the flute (that otherwise never get heard by
anyone). That should be possible, but since the crown's influence on
tone is so critical and delicate he warned me that the result can not
safely be predicted (meaning I should not re-do my old crown but
rather buy a new one for the mic modding). I can't afford that yet,
but it's on the list for the grand future always waiting around the
corner. ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=3D6550



>> Electric Guitar is the only instrument where "tone" is generally held to=
 come from "gear".
>> For all other instruments "tone" is referred to as an ability of the pla=
yer.

On Sat, Dec 20, 2008 at 6:14 PM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> Sorry Andy, but I believe you're wrong about that. It is
> well-understood among pianists that e.g. a B=F6sendorfer sounds

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 18:04:22 2008
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here ya go my friends.....my 60 year wait to see my name in GUITAR PLAYER is 
over:

Klobuchar Pittsburgh, Pennsylvania "Twister"
"When Santana talked about weaving a spell versus generating repetition in 
the December '08 GP, Klobuchar should have listened. The main riff is vibey and 
spooky but it doesn't develope, and it isn't hypnotic either. There is no 
journey here, and the random guitar noises only uderscore the inertia. 
myspace/klobuchar10."
 
this was from the issue with METALLICA on the cover, in the RIFFS section, 
page 28.....i did get a set of strings and a tea-shirt out of the 
deal.....:).....thank goodness they didn't send me a GUITAR HERO toy.....:)m


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

One site keeps you connected to all your email: AOL Mail, Gmail, and Yahoo Mail. 
Try it now. (http://www.aol.com/?optin=new-dp&amp;icid=aolcom40vanity&amp;
ncid=emlcntaolcom00000025)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">here ya go my friends.....my 60 year wa=
it to see my name in GUITAR PLAYER is over:<BR>
<BR>
Klobuchar Pittsburgh, Pennsylvania "Twister"<BR>
"When Santana talked about weaving a spell versus generating repetition in t=
he December '08 GP, Klobuchar should have listened. The main riff is vibey a=
nd spooky but it doesn't develope, and it isn't hypnotic either. There is no=
 journey here, and the random guitar noises only uderscore the inertia. mysp=
ace/klobuchar10."<BR>
 <BR>
this was from the issue with METALLICA on the cover, in the RIFFS section, p=
age 28.....i did get a set of strings and a tea-shirt out of the deal.....:)=
.....thank goodness they didn't send me a GUITAR HERO toy.....:)m</FONT><FON=
T COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"2"></FONT><=
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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 18:07:13 2008
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From: Toby Graves <carpet8@mac.com>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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The evidence:  hit a C7 flat nine chord with distortion on.  It  
clashes with itself.  Hit the chord on a clean channel.  How does it  
sound now?  What is causing the interference?


t


>
>
> Art Simon wrote:
>
>> The harmonic content of a distorted sound is vastly more complex than
>> a clean one.
>
> the evidence for that being????
>


From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 18:58:04 2008
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Per Boysen wrote:
> For the second time today I have to chime in with Rainer ;-))  One

> I think this proves
> that "gear" is essential for "tone" also in sax playing.
> 

sorry for not being clear,
in  UK English amongst classical musicians and brass/woodwind players
the word "tone" is specifically used to refer to that part of the
sound which is the responsibility of the player rather than the 
instrument.
:-)
I hereby acknowledge that the physics of the instrument has effect
on it's sound, and have no desire to contest that point.

andy

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If the shoe fits.....
=A0
:)

--- On Sat, 12/20/08, Nemoguitt@aol.com <Nemoguitt@aol.com> wrote:

From: Nemoguitt@aol.com <Nemoguitt@aol.com>
Subject: G.P's review of KLOBUCHAR'S MYSPACE
To: Loopers-Delight@loopers-delight.com
Date: Saturday, December 20, 2008, 10:04 AM


here ya go my friends.....my 60 year wait to see my name in GUITAR PLAYER i=
s over:

Klobuchar Pittsburgh, Pennsylvania "Twister"
"When Santana talked about weaving a spell versus generating repetition in =
the December '08 GP, Klobuchar should have listened. The main riff is vibey=
 and spooky but it doesn't develope, and it isn't hypnotic either. There is=
 no journey here, and the random guitar noises only uderscore the inertia. =
myspace/klobuchar10."

this was from the issue with METALLICA on the cover, in the RIFFS section, =
page 28.....i did get a set of strings and a tea-shirt out of the deal.....=
:).....thank goodness they didn't send me a GUITAR HERO toy.....:)m


**************
One site keeps you connected to all your email: AOL Mail, Gmail, and Yahoo =
Mail. Try it now. (http://www.aol.com/?optin=3Dnew-dp&icid=3Daolcom40vanity=
&ncid=3Demlcntaolcom00000025) =0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>If the shoe fits.....</DIV>
<DIV>&nbsp;</DIV>
<DIV>:)<BR><BR>--- On <B>Sat, 12/20/08, Nemoguitt@aol.com <I>&lt;Nemoguitt@aol.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Nemoguitt@aol.com &lt;Nemoguitt@aol.com&gt;<BR>Subject: G.P's review of KLOBUCHAR'S MYSPACE<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Saturday, December 20, 2008, 10:04 AM<BR><BR>
<DIV id=yiv1232932289><FONT face=arial,helvetica><FONT face=Geneva color=#000000 size=2 FAMILY="SANSSERIF">here ya go my friends.....my 60 year wait to see my name in GUITAR PLAYER is over:<BR><BR>Klobuchar Pittsburgh, Pennsylvania "Twister"<BR>"When Santana talked about weaving a spell versus generating repetition in the December '08 GP, Klobuchar should have listened. The main riff is vibey and spooky but it doesn't develope, and it isn't hypnotic either. There is no journey here, and the random guitar noises only uderscore the inertia. myspace/klobuchar10."<BR><BR>this was from the issue with METALLICA on the cover, in the RIFFS section, page 28.....i did get a set of strings and a tea-shirt out of the deal.....:).....thank goodness they didn't send me a GUITAR HERO toy.....:)m</FONT><FONT face=Geneva color=#000000 size=2 FAMILY="SANSSERIF"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all your email: AOL Mail, Gmail, and Yahoo
 Mail. Try it now. (http://www.aol.com/?optin=new-dp&amp;icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025) </FONT></DIV></BLOCKQUOTE></td></tr></table><br>



      
--0-1716324830-1229800838=:35649--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 19:20:53 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Was  distortion, overdrive,fuzz,c etc. now further OT
Date: Sat, 20 Dec 2008 11:20:48 -0800
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I should know better than to blog first thing in the morning, after I read
my post I cringed a little.  I don't know how I got on the subject of
teaching as that is a whole different topic.  

 I think there is one thing we can all agree on, taste is subjective and
personal. Viva la difference!

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>I should know better than to blog first thing in the =
morning,
after I read my post I cringed a little.&nbsp; I don&#8217;t know how I =
got on
the subject of teaching as that is a whole different topic. =
&nbsp;<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;I think there is one thing we can all agree on, =
taste
is subjective and personal. Viva la =
difference!<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</span></font><o:p></o:p></p>

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way to go capn' N, I am so envious. And with Metallica too! Can a Grammy =
be far behind? You remain my anti-hero!!=20

Jeff
  ----- Original Message -----=20
  From: Nemoguitt@aol.com=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, December 20, 2008 1:04 PM
  Subject: G.P's review of KLOBUCHAR'S MYSPACE


  here ya go my friends.....my 60 year wait to see my name in GUITAR =
PLAYER is over:

  Klobuchar Pittsburgh, Pennsylvania "Twister"
  "When Santana talked about weaving a spell versus generating =
repetition in the December '08 GP, Klobuchar should have listened. The =
main riff is vibey and spooky but it doesn't develope, and it isn't =
hypnotic either. There is no journey here, and the random guitar noises =
only uderscore the inertia. myspace/klobuchar10."

  this was from the issue with METALLICA on the cover, in the RIFFS =
section, page 28.....i did get a set of strings and a tea-shirt out of =
the deal.....:).....thank goodness they didn't send me a GUITAR HERO =
toy.....:)m


  **************
  One site keeps you connected to all your email: AOL Mail, Gmail, and =
Yahoo Mail. Try it now. =
(http://www.aol.com/?optin=3Dnew-dp&icid=3Daolcom40vanity&ncid=3Demlcntao=
lcom00000025)=20


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



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  Checked by AVG - http://www.avg.com=20
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12/19/2008 10:09 AM

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<DIV><FONT face=3DArial size=3D2>way to go capn' N, I am so envious. And =
with=20
Metallica too! Can a Grammy be far behind? You remain my anti-hero!!=20
</FONT><FONT face=3DArial size=3D2></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3DNemoguitt@aol.com=20
  href=3D"mailto:Nemoguitt@aol.com">Nemoguitt@aol.com</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, December 20, =
2008 1:04=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> G.P's review of =
KLOBUCHAR'S=20
  MYSPACE</DIV>
  <DIV><BR></DIV><FONT face=3Darial,helvetica><FONT face=3DGeneva =
color=3D#000000=20
  size=3D2 FAMILY=3D"SANSSERIF">here ya go my friends.....my 60 year =
wait to see my=20
  name in GUITAR PLAYER is over:<BR><BR>Klobuchar Pittsburgh, =
Pennsylvania=20
  "Twister"<BR>"When Santana talked about weaving a spell versus =
generating=20
  repetition in the December '08 GP, Klobuchar should have listened. The =
main=20
  riff is vibey and spooky but it doesn't develope, and it isn't =
hypnotic=20
  either. There is no journey here, and the random guitar noises only =
uderscore=20
  the inertia. myspace/klobuchar10."<BR><BR>this was from the issue with =

  METALLICA on the cover, in the RIFFS section, page 28.....i did get a =
set of=20
  strings and a tea-shirt out of the deal.....:).....thank goodness they =
didn't=20
  send me a GUITAR HERO toy.....:)m</FONT><FONT face=3DGeneva =
color=3D#000000 size=3D2=20
  FAMILY=3D"SANSSERIF"></FONT><BR><BR><BR>**************<BR>One site =
keeps you=20
  connected to all your email: AOL Mail, Gmail, and Yahoo Mail. Try it =
now.=20
  =
(http://www.aol.com/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3D=
emlcntaolcom00000025)=20

  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.19/1857 -=20
  Release Date: 12/19/2008 10:09 =
AM<BR></BLOCKQUOTE></FONT></BODY></HTML>

------=_NextPart_000_003C_01C962AF.42254F30--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 19:50:16 2008
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Date: Sat, 20 Dec 2008 14:50:07 EST
Subject: Re: G.P's review of KLOBUCHAR'S MYSPACE
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In a message dated 12/20/08 2:21:01 PM, jakebrakesrule@yahoo.com writes:


> If the shoe fits.....
>  =A0
>  :)
>=20
>=20

"inflate shoes now!".....shoes for industry, shoes for the dead.....:)m

"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
One site keeps you connected to all your email: AOL Mail,=20
Gmail, and Yahoo Mail. Try it now. (http://www.aol.com/?optin=3Dnew-dp&amp;
icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)

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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 12/20/08 2:21:01 PM, jakebrakesrule@yahoo.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">If the shoe fits.....=
<BR>
 =A0<BR>
 :)<BR>
<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">"inflate shoes now!".....shoes for industry, shoes for the dead.....:)m<B=
R>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all=20=
your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (http://www.aol.com=
/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)<=
/HTML>

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Subject: Re: Mahavishnu Orchestra: seminal recordings was: one guitarist one drummer
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the first time i saw M.O. they had their few moments of silence before 
breaking into their set.....i was immediately transported into sonic heaven and very 
much to my surprise many people were transporting themselves to the exit door 
with a WTF look on their faces.....i never understood this.....perhaps they 
didn't know what they were in for......it was bliss!.....:)m



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">the first time i saw M.O. they had thei=
r few moments of silence before breaking into their set.....i was immediatel=
y transported into sonic heaven and very much to my surprise many people wer=
e transporting themselves to the exit door with a WTF look on their faces...=
..i never understood this.....perhaps they didn't know what they were in for=
......it was bliss!.....:)m<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all=20=
your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (http://www.aol.com=
/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)<=
/HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 20:23:55 2008
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Date: Sat, 20 Dec 2008 15:06:31 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: CANCELLED! Doctor T with New Language Collaborative 12.20.08 @119
 Lowell, MA
To: DrTVideo@egroups.com
Cc: eyecandy@egroups.com, boss-improv@topica.com, iotacenter@egroups.com,
 Loopers-Delight@loopers-delight.com, atari-midi@yahoogroups.com,
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Hi folks,

I'm very disappointed to announce that this exciting show has been 
cancelled because of the weather.

C'est la vie, especially in New England Winters.
-- 
My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

" Practice makes perfect, imperfect is better."  -- Paul Bley

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 20:34:28 2008
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------=_Part_30136_25443279.1229804917159
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What I'm responding to is your continuous refutation of the many various
responses to your statements, and the possiblity that your statements might
seem somewhat absolute and rhetorical. It's not really a discussion if you
continuously say "You don't get my point!" and " . . . incorrect
interpretation!" etc.

I understand mechanics and study of the fundamentals and lyricism and
discipline in music practices." Do you get MY POINT?" maybe not . . . I've
stepped back from this list for the most part because the increasing
percentage of pedantic lectures and academic posturing I see and the endles=
s
stream of self-promotion. There's not enough time in the day to address it
all Kris, and I used to call this place my HOME. I have a great deal of lov=
e
and affection for a good many folks here, but I find this a hard place to
interact anymore. Of course I have other reasons for my reduction of musica=
l
activity, but this is hard to ignore, so I'm part of the "self-regulating"
feature Kim speaks of=97time to push back!

My very best to all of my friends here! Peace OUT . . .

On Sat, Dec 20, 2008 at 9:35 AM, Krispen Hartung <info@krispenhartung.com>w=
rote:

>  ----- Original Message -----
>
>
> What I really find bothersome here is the incessant emphasis of mechanics
> over art, and single-minded effort to get us all to fall in line.
>
> *Why would you assume this? You mean we can't have a focused discussion o=
n
> a particular topic that happens to be technical or mechanical related,
> without you jumping to the conclusion that we are holding that particular
> topic as more important than art? That's sort of restrictive and a way of
> censoring our freedom of thought, wouldn't you say? *
> **
> *Bottom line: Having the conversation doesn't mean that we don't
> understand or value the artistic elements of the music. That is a false
> cause or false association fallacy.* *  We are just having the damn
> conversation. I supposed experts in the marshal arts can't talk about the
> mechanics of their art (which are very important, btw), without disregard=
ing
> their art? I don't think so. It's just a conversation about a specific
> point.*
>
> We go about our personal disciplines to accomplish these choices of
> expression, then we take it into the artistic world to make our statement=
s.
> Fuzz, no fuzz, dark, brite . . . some of my favorite moments in guitar ar=
e
> ones thet defy technique; how did they do THAT?! moments, and I've had th=
em
> myself and relish the experience of confounding myself in the act of
> expression.
>
> So YEAH: As a guitar teacher, YES, I would encourage students to get a
> little technique and backbone, but I could give a shit once they hit the
> stage or recording studio. DID THEY MOVE ME OR NOT?
>
> *Good for you. Most of us probably agree with you, I don't know why you
> are trying to stifle a discussion on a particular point that happens to b=
e
> mechanical related, when we clearly have never made the claim that it is
> more important or valuable than the artistic element. I mean, who is goin=
g
> to argue for that?  That is a massive straw dog fallacy.  I built no such
> case, so I don't see the point of building it for the sake of tearing it
> down to look like a counter-argument of the original, isolated claim.*
>
>  *Kris*
> **
>
>


--=20
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

------=_Part_30136_25443279.1229804917159
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Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

What I&#39;m responding to is your continuous refutation of the many variou=
s responses to your statements, and the possiblity that your statements mig=
ht seem somewhat absolute and rhetorical. It&#39;s not really a discussion =
if you continuously say &quot;You don&#39;t get my point!&quot; and &quot; =
. . . incorrect interpretation!&quot; etc. <br>
<br>I understand mechanics and study of the fundamentals and lyricism and d=
iscipline in music practices.&quot; Do you get MY POINT?&quot; maybe not . =
. . I&#39;ve stepped back from this list for the most part because the incr=
easing percentage of pedantic lectures and academic posturing I see and the=
 endless stream of self-promotion. There&#39;s not enough time in the day t=
o address it all Kris, and I used to call this place my HOME. I have a grea=
t deal of love and affection for a good many folks here, but I find this a =
hard place to interact anymore. Of course I have other reasons for my reduc=
tion of musical activity, but this is hard to ignore, so I&#39;m part of th=
e &quot;self-regulating&quot; feature Kim speaks of=97time to push back!<br=
>
<br>My very best to all of my friends here! Peace OUT . . . <br><br><div cl=
ass=3D"gmail_quote">On Sat, Dec 20, 2008 at 9:35 AM, Krispen Hartung <span =
dir=3D"ltr">&lt;<a href=3D"mailto:info@krispenhartung.com">info@krispenhart=
ung.com</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">





<div bgcolor=3D"#ffffff">
<div>----- Original Message ----- </div>
<blockquote style=3D"border-left: 2px solid rgb(0, 0, 0); padding-right: 0p=
x; padding-left: 5px; margin-left: 5px; margin-right: 0px;"><div class=3D"I=
h2E3d">
  <div><font face=3D"Arial" size=3D"2"></font><br></div>
  <div>What I really find bothersome here is the incessant emphasis of mech=
anics=20
  over art, and single-minded effort to get us all to fall in line. </div>
  <div>&nbsp;</div>
  </div><div class=3D"Ih2E3d"><div><font face=3D"Arial" size=3D"2"><b>Why w=
ould you assume this? You mean we=20
  can&#39;t have a focused discussion on a particular topic that happens to=
 be=20
  technical or mechanical related, without you jumping to the conclusion th=
at we=20
  are holding that particular topic as more important than art? That&#39;s =
sort of=20
  restrictive and a way of censoring our freedom of&nbsp;thought, wouldn&#3=
9;t=20
  you&nbsp;say?&nbsp;</b></font></div>
  <div><font face=3D"Arial" size=3D"2"><b></b></font>&nbsp;</div>
  <div><font face=3D"Arial" size=3D"2"><b>Bottom line: Having the conversat=
ion=20
  doesn&#39;t mean that we don&#39;t understand or value the artistic eleme=
nts of the=20
  music. That is a false cause or false association=20
  fallacy.</b>&nbsp;<b>&nbsp; We are just having the damn=20
  conversation. I supposed experts in the marshal arts can&#39;t talk about=
 the=20
  mechanics of their art (which are very important, btw), without disregard=
ing=20
  their art? I don&#39;t think so. It&#39;s just a conversation about a spe=
cific=20
  point.</b></font><br><br>We go about our personal disciplines to=20
  accomplish these choices of expression, then we take it into the artistic=
=20
  world to make our statements. Fuzz, no fuzz, dark, brite . . . some of my=
=20
  favorite moments in guitar are ones thet defy technique; how did they do=
=20
  THAT?! moments, and I&#39;ve had them myself and relish the experience of=
=20
  confounding myself in the act of expression.<br><br>So YEAH: As a guitar=
=20
  teacher, YES, I would encourage students to get a little technique and=20
  backbone, but I could give a shit once they hit the stage or recording st=
udio.=20
  DID THEY MOVE ME OR NOT?</div>
  <div>&nbsp;</div>
  </div><div><font face=3D"Arial" size=3D"2"><b>Good for you. Most of us pr=
obably agree=20
  with you, I don&#39;t know why you are trying to stifle a discussion on a=
=20
  particular point that happens to be mechanical related, when we clearly h=
ave=20
  never made the claim that it is more important or valuable than the artis=
tic=20
  element. I mean, who is going to argue for that?&nbsp; That is a massive =
straw=20
  dog fallacy.&nbsp; I built no such case, so I don&#39;t see the point of =
building=20
  it for the sake of tearing it down to look like a counter-argument of the=
=20
  original, isolated claim.</b></font></div><font face=3D"Arial" size=3D"2"=
></font></blockquote>
<blockquote style=3D"border-left: 2px solid rgb(0, 0, 0); padding-right: 0p=
x; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
  <div><font face=3D"Arial" size=3D"2"><b>Kris</b></font></div>
  <div><font face=3D"Arial" size=3D"2"><b></b></font>&nbsp;</div>
  <div><br></div></blockquote></div>
</blockquote></div><br><br clear=3D"all"><br>-- <br>Miko Biffle<br>Biffoz@G=
mail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the =
usual distractions!&quot;<br>

------=_Part_30136_25443279.1229804917159--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 20:42:56 2008
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Subject: livid looper
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anyone getting this to work in vista? The preloaded samples work but =
when I try and records a sample through it it crashes.

thanks,

plish
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<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>anyone getting this to work in vista? =
The preloaded=20
samples work but when I try and records a sample through it it=20
crashes.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>thanks,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>plish</FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 20:46:14 2008
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Date: Sat, 20 Dec 2008 15:46:08 -0500
From: Mikkoz <biffoz@gmail.com>
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Wow . . . the NERVE!  I'd still stand by you in a swordfight dude!  You da
man!  MikoNotMichael

On Sat, Dec 20, 2008 at 1:04 PM, <Nemoguitt@aol.com> wrote:

> here ya go my friends.....my 60 year wait to see my name in GUITAR PLAYER
> is over:
>
> Klobuchar Pittsburgh, Pennsylvania "Twister"
> "When Santana talked about weaving a spell versus generating repetition in
> the December '08 GP, Klobuchar should have listened. The main riff is vibey
> and spooky but it doesn't develope, and it isn't hypnotic either. There is
> no journey here, and the random guitar noises only uderscore the inertia.
> myspace/klobuchar10."
>
> this was from the issue with METALLICA on the cover, in the RIFFS section,
> page 28.....i did get a set of strings and a tea-shirt out of the
> deal.....:).....thank goodness they didn't send me a GUITAR HERO toy.....:)m
>
>
> **************
> One site keeps you connected to all your email: AOL Mail, Gmail, and Yahoo
> Mail. Try it now. (
> http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom00000025)
>




-- 
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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Wow . . . the NERVE!&nbsp; I&#39;d still stand by you in a swordfight dude!&nbsp; You da man!&nbsp; MikoNotMichael<br><br><div class="gmail_quote">On Sat, Dec 20, 2008 at 1:04 PM,  <span dir="ltr">&lt;<a href="mailto:Nemoguitt@aol.com">Nemoguitt@aol.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><font face="arial,helvetica"><font color="#000000" face="Geneva" size="2">here ya go my friends.....my 60 year wait to see my name in GUITAR PLAYER is over:<br>

<br>
Klobuchar Pittsburgh, Pennsylvania &quot;Twister&quot;<br>
&quot;When Santana talked about weaving a spell versus generating repetition in the December &#39;08 GP, Klobuchar should have listened. The main riff is vibey and spooky but it doesn&#39;t develope, and it isn&#39;t hypnotic either. There is no journey here, and the random guitar noises only uderscore the inertia. myspace/klobuchar10.&quot;<br>

 <br>
this was from the issue with METALLICA on the cover, in the RIFFS section, page 28.....i did get a set of strings and a tea-shirt out of the deal.....:).....thank goodness they didn&#39;t send me a GUITAR HERO toy.....:)m</font><font color="#000000" face="Geneva" size="2"></font><br>
<br><br>**************<br>One site keeps you connected to all your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (<a href="http://www.aol.com/?optin=new-dp&amp;icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025" target="_blank">http://www.aol.com/?optin=new-dp&amp;icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025</a>)
</font></blockquote></div><br><br clear="all"><br>-- <br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the usual distractions!&quot;<br>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 20:52:26 2008
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Subject: Re:  distortion, overdrive, fuzz, crunc
Date: Sat, 20 Dec 2008 12:50:31 -0800
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Andy wrote:
"Electric Guitar is the only instrument where "tone" is generally 
held to come from "gear". 
For all other instruments "tone" is referred to as an ability of the player."

I, of course, see your point , Andy,  and I don't want to appear 
contentious, but as a trapset drummer 
I'd have to disagree a little bit.   Head choice, rim choice,  style of 
tuning, stick choice and, especially cymbal choice has a great deal to 
do with "tone"  on the trapset.................easily as much as 
what we call "touch".
--

Also,  as an instrumentalist who loves the electronic manipulation of 
physical acoustic instruments and found sounds,  I get a lot of 
"tone" from my stomp box pedals and VST effects, from the amplifier 
and it's digital amp models and also from the purposeful 
overdriving of the signal of piezo pickups and microphones.

I'm a tone freak!

Also, great last post,  Bill.    I'm one of those people who, because my 
beloved father insisted that I learn clarinet first (a decidedly unhip 
instrument in the early days of my rock and roll youth) instead of the 
saxaphone (a decidedly 'cooler' instrument in those days).    I'd be a 
saxaphonist today if my frustration at playing an uncool instrument hadn't 
led me to want to play the drums,  which I thought were infinitely 'cooler'.

That's a good point though, that I come to think of it:
My rebellion against what was supposed to happen fueled my desire to be a 
musician in the rock and soul (and later, world music, jazz and electronica 
worlds as well).

I think it's so great to see some of Bill's students specifically eschewing 
monster beefy distorted tones as a reaction against the status quo.

Jordie Topf's creative and relatively unprocessed guitar tone as a Y2K8 
newbie really comes to mind.     That kid is on the way to becoming a 
monster musician,  however he decides to express himself.

Clean,  is the new Distortion,  eh?

and what goes around comes around.

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 21:36:52 2008
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To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Well, if you don't like the continuous refutation, Mikkoz, then quit =
making statements like:

"What I really find bothersome here is the incessant emphasis of =
mechanics over art, and single-minded effort to get us all to fall in =
line."

If you are going to make a claim about my post, then I at least deserve =
one that is accurate, rather than one that contorts my original point =
and takes is beyond its original context. What's up with that?  I never, =
ever said what you say, and so I don't know why you are the one being so =
defensive here. If you are going to say something about my post, get it =
right.  I don't take to kindly of someone telling me that I'm =
"incessantly" doing something, which is clearly not the case.  That is =
self-regulation: If someone says something inaccurate about my post, I'm =
going to do something about it and defend myself.  If you can't handle =
the free thought and expression, or my personal style of communicating, =
then stop responding to my posts. No one is twisting your arm to fuel =
the fire.=20

Kris



  ----- Original Message -----=20


  What I'm responding to is your continuous refutation of the many =
various responses to your statements, and the possiblity that your =
statements might seem somewhat absolute and rhetorical. It's not really =
a discussion if you continuously say "You don't get my point!" and " . . =
. incorrect interpretation!" etc.=20

  I understand mechanics and study of the fundamentals and lyricism and =
discipline in music practices." Do you get MY POINT?" maybe not . . . =
I've stepped back from this list for the most part because the =
increasing percentage of pedantic lectures and academic posturing I see =
and the endless stream of self-promotion. There's not enough time in the =
day to address it all Kris, and I used to call this place my HOME. I =
have a great deal of love and affection for a good many folks here, but =
I find this a hard place to interact anymore. Of course I have other =
reasons for my reduction of musical activity, but this is hard to =
ignore, so I'm part of the "self-regulating" feature Kim speaks =
of=97time to push back!

  My very best to all of my friends here! Peace OUT . . .=20


  On Sat, Dec 20, 2008 at 9:35 AM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    ----- Original Message -----=20


      What I really find bothersome here is the incessant emphasis of =
mechanics over art, and single-minded effort to get us all to fall in =
line.=20

      Why would you assume this? You mean we can't have a focused =
discussion on a particular topic that happens to be technical or =
mechanical related, without you jumping to the conclusion that we are =
holding that particular topic as more important than art? That's sort of =
restrictive and a way of censoring our freedom of thought, wouldn't you =
say?=20

      Bottom line: Having the conversation doesn't mean that we don't =
understand or value the artistic elements of the music. That is a false =
cause or false association fallacy.   We are just having the damn =
conversation. I supposed experts in the marshal arts can't talk about =
the mechanics of their art (which are very important, btw), without =
disregarding their art? I don't think so. It's just a conversation about =
a specific point.

      We go about our personal disciplines to accomplish these choices =
of expression, then we take it into the artistic world to make our =
statements. Fuzz, no fuzz, dark, brite . . . some of my favorite moments =
in guitar are ones thet defy technique; how did they do THAT?! moments, =
and I've had them myself and relish the experience of confounding myself =
in the act of expression.

      So YEAH: As a guitar teacher, YES, I would encourage students to =
get a little technique and backbone, but I could give a shit once they =
hit the stage or recording studio. DID THEY MOVE ME OR NOT?

      Good for you. Most of us probably agree with you, I don't know why =
you are trying to stifle a discussion on a particular point that happens =
to be mechanical related, when we clearly have never made the claim that =
it is more important or valuable than the artistic element. I mean, who =
is going to argue for that?  That is a massive straw dog fallacy.  I =
built no such case, so I don't see the point of building it for the sake =
of tearing it down to look like a counter-argument of the original, =
isolated claim.
      Kris






  --=20
  Miko Biffle
  Biffoz@Gmail.com
  MBiffle@FoxRacingShox.com
  "Running scared from all the usual distractions!"

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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Well, if you don't like the continuous =
refutation,=20
Mikkoz, then quit making statements like:</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>
<DIV>"What I really find bothersome here is the incessant emphasis of =
mechanics=20
over art, and single-minded effort to get us all to fall in line."</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>If you are going to make a claim about =
my post,=20
then I at least deserve one that is accurate, rather than one that =
contorts my=20
original point and takes is beyond its original context.&nbsp;What's up =
with=20
that?&nbsp; I never, ever&nbsp;said what you say, and so I don't know =
why you=20
are the one being so defensive here. If you are going to say something =
about my=20
post, get it right.&nbsp; I don't take to kindly of someone telling me =
that I'm=20
"incessantly" doing something, which is clearly not the case.&nbsp; That =
is=20
self-regulation: If someone says something inaccurate about my post, I'm =
going=20
to do something about it and defend myself.&nbsp; If you can't handle =
the free=20
thought and expression, or my personal style of communicating,&nbsp;then =
stop=20
responding to my posts. No one is twisting your arm to fuel the fire.=20
</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></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>What=20
  I'm responding to is your continuous refutation of the many various =
responses=20
  to your statements, and the possiblity that your statements might seem =

  somewhat absolute and rhetorical. It's not really a discussion if you=20
  continuously say "You don't get my point!" and " . . . incorrect=20
  interpretation!" etc. <BR><BR>I understand mechanics and study of the=20
  fundamentals and lyricism and discipline in music practices." Do you =
get MY=20
  POINT?" maybe not . . . I've stepped back from this list for the most =
part=20
  because the increasing percentage of pedantic lectures and academic =
posturing=20
  I see and the endless stream of self-promotion. There's not enough =
time in the=20
  day to address it all Kris, and I used to call this place my HOME. I =
have a=20
  great deal of love and affection for a good many folks here, but I =
find this a=20
  hard place to interact anymore. Of course I have other reasons for my=20
  reduction of musical activity, but this is hard to ignore, so I'm part =
of the=20
  "self-regulating" feature Kim speaks of=97time to push back!<BR><BR>My =
very best=20
  to all of my friends here! Peace OUT . . . <BR><BR>
  <DIV class=3Dgmail_quote>On Sat, Dec 20, 2008 at 9:35 AM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
  wrote:<BR>
  <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>----- Original Message ----- </DIV>
    <BLOCKQUOTE=20
    style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: rgb(0,0,0) 2px solid; MARGIN-RIGHT: 0px">
      <DIV class=3DIh2E3d>
      <DIV><FONT face=3DArial size=3D2></FONT><BR></DIV>
      <DIV>What I really find bothersome here is the incessant emphasis =
of=20
      mechanics over art, and single-minded effort to get us all to fall =
in=20
      line. </DIV>
      <DIV>&nbsp;</DIV></DIV>
      <DIV class=3DIh2E3d>
      <DIV><FONT face=3DArial size=3D2><B>Why would you assume this? You =
mean we=20
      can't have a focused discussion on a particular topic that happens =
to be=20
      technical or mechanical related, without you jumping to the =
conclusion=20
      that we are holding that particular topic as more important than =
art?=20
      That's sort of restrictive and a way of censoring our freedom=20
      of&nbsp;thought, wouldn't you&nbsp;say?&nbsp;</B></FONT></DIV>
      <DIV><FONT face=3DArial size=3D2><B></B></FONT>&nbsp;</DIV>
      <DIV><FONT face=3DArial size=3D2><B>Bottom line: Having the =
conversation=20
      doesn't mean that we don't understand or value the artistic =
elements of=20
      the music. That is a false cause or false association=20
      fallacy.</B>&nbsp;<B>&nbsp; We are just having the damn =
conversation. I=20
      supposed experts in the marshal arts can't talk about the =
mechanics of=20
      their art (which are very important, btw), without disregarding =
their art?=20
      I don't think so. It's just a conversation about a specific=20
      point.</B></FONT><BR><BR>We go about our personal disciplines to=20
      accomplish these choices of expression, then we take it into the =
artistic=20
      world to make our statements. Fuzz, no fuzz, dark, brite . . . =
some of my=20
      favorite moments in guitar are ones thet defy technique; how did =
they do=20
      THAT?! moments, and I've had them myself and relish the experience =
of=20
      confounding myself in the act of expression.<BR><BR>So YEAH: As a =
guitar=20
      teacher, YES, I would encourage students to get a little technique =
and=20
      backbone, but I could give a shit once they hit the stage or =
recording=20
      studio. DID THEY MOVE ME OR NOT?</DIV>
      <DIV>&nbsp;</DIV></DIV>
      <DIV><FONT face=3DArial size=3D2><B>Good for you. Most of us =
probably agree=20
      with you, I don't know why you are trying to stifle a discussion =
on a=20
      particular point that happens to be mechanical related, when we =
clearly=20
      have never made the claim that it is more important or valuable =
than the=20
      artistic element. I mean, who is going to argue for that?&nbsp; =
That is a=20
      massive straw dog fallacy.&nbsp; I built no such case, so I don't =
see the=20
      point of building it for the sake of tearing it down to look like =
a=20
      counter-argument of the original, isolated =
claim.</B></FONT></DIV><FONT=20
      face=3DArial size=3D2></FONT></BLOCKQUOTE>
    <BLOCKQUOTE=20
    style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: rgb(0,0,0) 2px solid; MARGIN-RIGHT: 0px">
      <DIV><FONT face=3DArial size=3D2><B>Kris</B></FONT></DIV>
      <DIV><FONT face=3DArial size=3D2><B></B></FONT>&nbsp;</DIV>
      <DIV><BR></DIV></BLOCKQUOTE></DIV></BLOCKQUOTE></DIV><BR><BR =
clear=3Dall><BR>--=20
  <BR>Miko =
Biffle<BR>Biffoz@Gmail.com<BR>MBiffle@FoxRacingShox.com<BR>"Running=20
  scared from all the usual =
distractions!"<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_008C_01C962B0.630AAD20--

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Date: Sat, 20 Dec 2008 16:49:05 -0500
From: Mikkoz <biffoz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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How can myself and so many others be so inaccurate?  The stats speak for
themselves.  You're awesome dude.  How does it feel to be on-the-money so
consistently?  -m

On Sat, Dec 20, 2008 at 4:36 PM, Krispen Hartung <info@krispenhartung.com>w=
rote:

>  Well, if you don't like the continuous refutation, Mikkoz, then quit
> making statements like:
>
>  "What I really find bothersome here is the incessant emphasis of
> mechanics over art, and single-minded effort to get us all to fall in lin=
e."
>
> If you are going to make a claim about my post, then I at least deserve o=
ne
> that is accurate, rather than one that contorts my original point and tak=
es
> is beyond its original context. What's up with that?  I never, ever said
> what you say, and so I don't know why you are the one being so defensive
> here. If you are going to say something about my post, get it right.  I
> don't take to kindly of someone telling me that I'm "incessantly" doing
> something, which is clearly not the case.  That is self-regulation: If
> someone says something inaccurate about my post, I'm going to do somethin=
g
> about it and defend myself.  If you can't handle the free thought and
> expression, or my personal style of communicating, then stop responding t=
o
> my posts. No one is twisting your arm to fuel the fire.
>
> Kris
>
>
> ----- Original Message -----
>
>
> What I'm responding to is your continuous refutation of the many various
> responses to your statements, and the possiblity that your statements mig=
ht
> seem somewhat absolute and rhetorical. It's not really a discussion if yo=
u
> continuously say "You don't get my point!" and " . . . incorrect
> interpretation!" etc.
>
> I understand mechanics and study of the fundamentals and lyricism and
> discipline in music practices." Do you get MY POINT?" maybe not . . . I'v=
e
> stepped back from this list for the most part because the increasing
> percentage of pedantic lectures and academic posturing I see and the endl=
ess
> stream of self-promotion. There's not enough time in the day to address i=
t
> all Kris, and I used to call this place my HOME. I have a great deal of l=
ove
> and affection for a good many folks here, but I find this a hard place to
> interact anymore. Of course I have other reasons for my reduction of musi=
cal
> activity, but this is hard to ignore, so I'm part of the "self-regulating=
"
> feature Kim speaks of=97time to push back!
>
> My very best to all of my friends here! Peace OUT . . .
>
> On Sat, Dec 20, 2008 at 9:35 AM, Krispen Hartung <info@krispenhartung.com=
>wrote:
>
>>  ----- Original Message -----
>>
>>
>> What I really find bothersome here is the incessant emphasis of mechanic=
s
>> over art, and single-minded effort to get us all to fall in line.
>>
>>  *Why would you assume this? You mean we can't have a focused discussion
>> on a particular topic that happens to be technical or mechanical related=
,
>> without you jumping to the conclusion that we are holding that particula=
r
>> topic as more important than art? That's sort of restrictive and a way o=
f
>> censoring our freedom of thought, wouldn't you say? *
>> **
>> *Bottom line: Having the conversation doesn't mean that we don't
>> understand or value the artistic elements of the music. That is a false
>> cause or false association fallacy.* *  We are just having the damn
>> conversation. I supposed experts in the marshal arts can't talk about th=
e
>> mechanics of their art (which are very important, btw), without disregar=
ding
>> their art? I don't think so. It's just a conversation about a specific
>> point.*
>>
>> We go about our personal disciplines to accomplish these choices of
>> expression, then we take it into the artistic world to make our statemen=
ts.
>> Fuzz, no fuzz, dark, brite . . . some of my favorite moments in guitar a=
re
>> ones thet defy technique; how did they do THAT?! moments, and I've had t=
hem
>> myself and relish the experience of confounding myself in the act of
>> expression.
>>
>> So YEAH: As a guitar teacher, YES, I would encourage students to get a
>> little technique and backbone, but I could give a shit once they hit the
>> stage or recording studio. DID THEY MOVE ME OR NOT?
>>
>> *Good for you. Most of us probably agree with you, I don't know why you
>> are trying to stifle a discussion on a particular point that happens to =
be
>> mechanical related, when we clearly have never made the claim that it is
>> more important or valuable than the artistic element. I mean, who is goi=
ng
>> to argue for that?  That is a massive straw dog fallacy.  I built no suc=
h
>> case, so I don't see the point of building it for the sake of tearing it
>> down to look like a counter-argument of the original, isolated claim.*
>>
>>  *Kris*
>> **
>>
>>
>
>
> --
> Miko Biffle
> Biffoz@Gmail.com
> MBiffle@FoxRacingShox.com
> "Running scared from all the usual distractions!"
>
>


--=20
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

------=_Part_30976_24434137.1229809745899
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How can myself and so many others be so inaccurate?&nbsp; The stats speak f=
or themselves.&nbsp; You&#39;re awesome dude.&nbsp; How does it feel to be =
on-the-money so consistently?&nbsp; -m<br><br><div class=3D"gmail_quote">On=
 Sat, Dec 20, 2008 at 4:36 PM, Krispen Hartung <span dir=3D"ltr">&lt;<a hre=
f=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span>=
 wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">





<div bgcolor=3D"#ffffff">
<div><font face=3D"Arial" size=3D"2">Well, if you don&#39;t like the contin=
uous refutation,=20
Mikkoz, then quit making statements like:</font></div>
<div><font face=3D"Arial" size=3D"2"></font>&nbsp;</div>
<div><div class=3D"Ih2E3d">
<div>&quot;What I really find bothersome here is the incessant emphasis of =
mechanics=20
over art, and single-minded effort to get us all to fall in line.&quot;</di=
v>
<div>&nbsp;</div>
</div><div><font face=3D"Arial" size=3D"2">If you are going to make a claim=
 about my post,=20
then I at least deserve one that is accurate, rather than one that contorts=
 my=20
original point and takes is beyond its original context.&nbsp;What&#39;s up=
 with=20
that?&nbsp; I never, ever&nbsp;said what you say, and so I don&#39;t know w=
hy you=20
are the one being so defensive here. If you are going to say something abou=
t my=20
post, get it right.&nbsp; I don&#39;t take to kindly of someone telling me =
that I&#39;m=20
&quot;incessantly&quot; doing something, which is clearly not the case.&nbs=
p; That is=20
self-regulation: If someone says something inaccurate about my post, I&#39;=
m going=20
to do something about it and defend myself.&nbsp; If you can&#39;t handle t=
he free=20
thought and expression, or my personal style of communicating,&nbsp;then st=
op=20
responding to my posts. No one is twisting your arm to fuel the fire.=20
</font></div>
<div>&nbsp;</div>
<div><font face=3D"Arial" size=3D"2">Kris</font></div>
<div><font face=3D"Arial" size=3D"2"></font>&nbsp;</div>

</div><div><div></div><div class=3D"Wj3C7c">
<blockquote style=3D"border-left: 2px solid rgb(0, 0, 0); padding-right: 0p=
x; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
  <div style=3D"font-family: arial; font-style: normal; font-variant: norma=
l; font-weight: normal; font-size: 10pt; line-height: normal; font-size-adj=
ust: none; font-stretch: normal;">----- Original Message ----- </div>
  <div style=3D"background: rgb(228, 228, 228) none repeat scroll 0% 50%; -=
moz-background-clip: -moz-initial; -moz-background-origin: -moz-initial; -m=
oz-background-inline-policy: -moz-initial; font-family: arial; font-style: =
normal; font-variant: normal; font-weight: normal; font-size: 10pt; line-he=
ight: normal; font-size-adjust: none; font-stretch: normal;">
<br>&nbsp;</div>What=20
  I&#39;m responding to is your continuous refutation of the many various r=
esponses=20
  to your statements, and the possiblity that your statements might seem=20
  somewhat absolute and rhetorical. It&#39;s not really a discussion if you=
=20
  continuously say &quot;You don&#39;t get my point!&quot; and &quot; . . .=
 incorrect=20
  interpretation!&quot; etc. <br><br>I understand mechanics and study of th=
e=20
  fundamentals and lyricism and discipline in music practices.&quot; Do you=
 get MY=20
  POINT?&quot; maybe not . . . I&#39;ve stepped back from this list for the=
 most part=20
  because the increasing percentage of pedantic lectures and academic postu=
ring=20
  I see and the endless stream of self-promotion. There&#39;s not enough ti=
me in the=20
  day to address it all Kris, and I used to call this place my HOME. I have=
 a=20
  great deal of love and affection for a good many folks here, but I find t=
his a=20
  hard place to interact anymore. Of course I have other reasons for my=20
  reduction of musical activity, but this is hard to ignore, so I&#39;m par=
t of the=20
  &quot;self-regulating&quot; feature Kim speaks of=97time to push back!<br=
><br>My very best=20
  to all of my friends here! Peace OUT . . . <br><br>
  <div class=3D"gmail_quote">On Sat, Dec 20, 2008 at 9:35 AM, Krispen Hartu=
ng <span dir=3D"ltr">&lt;<a href=3D"mailto:info@krispenhartung.com" target=
=3D"_blank">info@krispenhartung.com</a>&gt;</span>=20
  wrote:<br>
  <blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204=
, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
    <div bgcolor=3D"#ffffff">
    <div>----- Original Message ----- </div>
    <blockquote style=3D"border-left: 2px solid rgb(0, 0, 0); padding-right=
: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
      <div>
      <div><font face=3D"Arial" size=3D"2"></font><br></div>
      <div>What I really find bothersome here is the incessant emphasis of=
=20
      mechanics over art, and single-minded effort to get us all to fall in=
=20
      line. </div>
      <div>&nbsp;</div></div>
      <div>
      <div><font face=3D"Arial" size=3D"2"><b>Why would you assume this? Yo=
u mean we=20
      can&#39;t have a focused discussion on a particular topic that happen=
s to be=20
      technical or mechanical related, without you jumping to the conclusio=
n=20
      that we are holding that particular topic as more important than art?=
=20
      That&#39;s sort of restrictive and a way of censoring our freedom=20
      of&nbsp;thought, wouldn&#39;t you&nbsp;say?&nbsp;</b></font></div>
      <div><font face=3D"Arial" size=3D"2"><b></b></font>&nbsp;</div>
      <div><font face=3D"Arial" size=3D"2"><b>Bottom line: Having the conve=
rsation=20
      doesn&#39;t mean that we don&#39;t understand or value the artistic e=
lements of=20
      the music. That is a false cause or false association=20
      fallacy.</b>&nbsp;<b>&nbsp; We are just having the damn conversation.=
 I=20
      supposed experts in the marshal arts can&#39;t talk about the mechani=
cs of=20
      their art (which are very important, btw), without disregarding their=
 art?=20
      I don&#39;t think so. It&#39;s just a conversation about a specific=
=20
      point.</b></font><br><br>We go about our personal disciplines to=20
      accomplish these choices of expression, then we take it into the arti=
stic=20
      world to make our statements. Fuzz, no fuzz, dark, brite . . . some o=
f my=20
      favorite moments in guitar are ones thet defy technique; how did they=
 do=20
      THAT?! moments, and I&#39;ve had them myself and relish the experienc=
e of=20
      confounding myself in the act of expression.<br><br>So YEAH: As a gui=
tar=20
      teacher, YES, I would encourage students to get a little technique an=
d=20
      backbone, but I could give a shit once they hit the stage or recordin=
g=20
      studio. DID THEY MOVE ME OR NOT?</div>
      <div>&nbsp;</div></div>
      <div><font face=3D"Arial" size=3D"2"><b>Good for you. Most of us prob=
ably agree=20
      with you, I don&#39;t know why you are trying to stifle a discussion =
on a=20
      particular point that happens to be mechanical related, when we clear=
ly=20
      have never made the claim that it is more important or valuable than =
the=20
      artistic element. I mean, who is going to argue for that?&nbsp; That =
is a=20
      massive straw dog fallacy.&nbsp; I built no such case, so I don&#39;t=
 see the=20
      point of building it for the sake of tearing it down to look like a=
=20
      counter-argument of the original, isolated claim.</b></font></div><fo=
nt face=3D"Arial" size=3D"2"></font></blockquote>
    <blockquote style=3D"border-left: 2px solid rgb(0, 0, 0); padding-right=
: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
      <div><font face=3D"Arial" size=3D"2"><b>Kris</b></font></div>
      <div><font face=3D"Arial" size=3D"2"><b></b></font>&nbsp;</div>
      <div><br></div></blockquote></div></blockquote></div><br><br clear=3D=
"all"><br>--=20
  <br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot=
;Running=20
  scared from all the usual distractions!&quot;<br></blockquote></div></div=
></div>
</blockquote></div><br><br clear=3D"all"><br>-- <br>Miko Biffle<br>Biffoz@G=
mail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the =
usual distractions!&quot;<br>

------=_Part_30976_24434137.1229809745899--

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	<billwalker@baymoon.com>
References: <3C20D77767C547368BEECB6E750DBE0E@williamsteed>
Subject: Re: Was  distortion, overdrive,fuzz,c etc. now further OT
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Yeah, your so right, check these guys out. I use them for neighbor wars =
and party clearing. I dig em though.=20
http://www.youtube.com/watch?v=3DYwMwQFOCa4M

Jeff
  ----- Original Message -----=20
  From: William Walker=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, December 20, 2008 2:20 PM
  Subject: Was distortion, overdrive,fuzz,c etc. now further OT


  I should know better than to blog first thing in the morning, after I =
read my post I cringed a little.  I don't know how I got on the subject =
of teaching as that is a whole different topic. =20

   I think there is one thing we can all agree on, taste is subjective =
and personal. Viva la difference!

  Bill



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-----



  No virus found in this incoming message.
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12/19/2008 10:09 AM

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<DIV><FONT face=3DArial size=3D2>Yeah, your so right, check these guys =
out. I use=20
them for neighbor wars and party clearing. I dig em though. =
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3DYwMwQFOCa4M">http://www.youtube.=
com/watch?v=3DYwMwQFOCa4M</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3Dbillwalker@baymoon.com =
href=3D"mailto:billwalker@baymoon.com">William=20
  Walker</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, December 20, =
2008 2:20=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Was distortion, =
overdrive,fuzz,c=20
  etc. now further OT</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">I should know better =
than to blog=20
  first thing in the morning, after I read my post I cringed a =
little.&nbsp; I=20
  don=92t know how I got on the subject of teaching as that is a whole =
different=20
  topic. &nbsp;<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">&nbsp;I think there is =
one thing=20
  we can all agree on, taste is subjective and personal. Viva la=20
  difference!<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">Bill</SPAN></FONT><o:p></o:p></P></DIV>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
- <A=20
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AM<BR></BLOCKQUOTE></BODY></HTML>

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 15:21:53 -0700
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----- Original Message -----=20


  How can myself and so many others be so inaccurate?  The stats speak =
for themselves.  You're awesome dude.  How does it feel to be =
on-the-money so consistently?  -m

  Hey, if that was a compliment, thanks!  :)  But the ad populum is a =
different story....

  But to end this....I didn't say anyone else was inaccurate in my =
paragraph below, only you. I don't recall anyone saying that I was =
incessantly emphasizing mechanics over art, and single mindedly trying =
to get everyone to fall in line. Have you re-read that a few times to =
realize what you were you really saying about me, and how ludicrous that =
statement appears in its generalization and meaning? Why would you say =
that, unless you are purposely just trying to start a meaningless debate =
and piss me off?   Here are a few quotes from those who got my original =
point, and then moved on to the other topics that spun off from mine: =20

  "Yes, we agree completely. I skimmed this thread too quickly and =
didn't put the quote in its broader context. Sorry about that."

  "I can understand the matter of things Kris is talking about. It has =
nothing to do with musical taste, audience reaction or absolute =
judgements about this or that "final result".=20

  "There's a difference between an improper or inappropriate setup and =
poor technique. Poor technique can be revealed instantly by turning off =
the fuzz box. And if you never turn off the fuxx to practise, your =
technique won't get better any time soon. I say this from experience."

  I totally admit that I am one of the most obsessively/compulsively =
analytical posters on this group (and Rick knows why), and it has =
annoyed many a poster. I also fully admit that my writing style comes =
across as very academic and, shall I say, sometimes pompous?  Yes. That =
is how I write, but none of it is personal. I take things very =
literally, and I get very irrated when people take one thing I say and =
then twist it into something else that is easy to refute. It's like a =
petty version of slander.   Somtimes people take a very litteral post, =
and then try to read between the lines and extrapolate something =
entirely different.  That is all good, but it doesn't serve as a basis =
to dispute the literal point. =20

  It's like I say X, and the next thing I know, someone is saying I said =
Y, and then refuting Y and getting all bent out of shape over Y.  That's =
fine, but I never said Y, and half of the time, I don't know a single =
person who would actually maintain Y because it is so obvious (like =
saying mechanics is more important than art)....for cripes sake, I am a =
director of a festival that is 100% about art, so I think I understand =
this point.  I loath Y! So, let's get back X. =20

  Kris




  On Sat, Dec 20, 2008 at 4:36 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    Well, if you don't like the continuous refutation, Mikkoz, then quit =
making statements like:

    "What I really find bothersome here is the incessant emphasis of =
mechanics over art, and single-minded effort to get us all to fall in =
line."

    If you are going to make a claim about my post, then I at least =
deserve one that is accurate, rather than one that contorts my original =
point and takes is beyond its original context. What's up with that?  I =
never, ever said what you say, and so I don't know why you are the one =
being so defensive here. If you are going to say something about my =
post, get it right.  I don't take to kindly of someone telling me that =
I'm "incessantly" doing something, which is clearly not the case.  That =
is self-regulation: If someone says something inaccurate about my post, =
I'm going to do something about it and defend myself.  If you can't =
handle the free thought and expression, or my personal style of =
communicating, then stop responding to my posts. No one is twisting your =
arm to fuel the fire.=20

    Kris

      ----- Original Message -----=20

      =20
      What I'm responding to is your continuous refutation of the many =
various responses to your statements, and the possiblity that your =
statements might seem somewhat absolute and rhetorical. It's not really =
a discussion if you continuously say "You don't get my point!" and " . . =
. incorrect interpretation!" etc.=20

      I understand mechanics and study of the fundamentals and lyricism =
and discipline in music practices." Do you get MY POINT?" maybe not . . =
. I've stepped back from this list for the most part because the =
increasing percentage of pedantic lectures and academic posturing I see =
and the endless stream of self-promotion. There's not enough time in the =
day to address it all Kris, and I used to call this place my HOME. I =
have a great deal of love and affection for a good many folks here, but =
I find this a hard place to interact anymore. Of course I have other =
reasons for my reduction of musical activity, but this is hard to =
ignore, so I'm part of the "self-regulating" feature Kim speaks =
of=97time to push back!

      My very best to all of my friends here! Peace OUT . . .=20


      On Sat, Dec 20, 2008 at 9:35 AM, Krispen Hartung =
<info@krispenhartung.com> wrote:

        ----- Original Message -----=20


          What I really find bothersome here is the incessant emphasis =
of mechanics over art, and single-minded effort to get us all to fall in =
line.=20

          Why would you assume this? You mean we can't have a focused =
discussion on a particular topic that happens to be technical or =
mechanical related, without you jumping to the conclusion that we are =
holding that particular topic as more important than art? That's sort of =
restrictive and a way of censoring our freedom of thought, wouldn't you =
say?=20

          Bottom line: Having the conversation doesn't mean that we =
don't understand or value the artistic elements of the music. That is a =
false cause or false association fallacy.   We are just having the damn =
conversation. I supposed experts in the marshal arts can't talk about =
the mechanics of their art (which are very important, btw), without =
disregarding their art? I don't think so. It's just a conversation about =
a specific point.

          We go about our personal disciplines to accomplish these =
choices of expression, then we take it into the artistic world to make =
our statements. Fuzz, no fuzz, dark, brite . . . some of my favorite =
moments in guitar are ones thet defy technique; how did they do THAT?! =
moments, and I've had them myself and relish the experience of =
confounding myself in the act of expression.

          So YEAH: As a guitar teacher, YES, I would encourage students =
to get a little technique and backbone, but I could give a shit once =
they hit the stage or recording studio. DID THEY MOVE ME OR NOT?

          Good for you. Most of us probably agree with you, I don't know =
why you are trying to stifle a discussion on a particular point that =
happens to be mechanical related, when we clearly have never made the =
claim that it is more important or valuable than the artistic element. I =
mean, who is going to argue for that?  That is a massive straw dog =
fallacy.  I built no such case, so I don't see the point of building it =
for the sake of tearing it down to look like a counter-argument of the =
original, isolated claim.
          Kris






      --=20
      Miko Biffle
      Biffoz@Gmail.com
      MBiffle@FoxRacingShox.com
      "Running scared from all the usual distractions!"




  --=20
  Miko Biffle
  Biffoz@Gmail.com
  MBiffle@FoxRacingShox.com
  "Running scared from all the usual distractions!"

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<BODY bgColor=3D#ffffff>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><BR></DIV>
  <DIV>How can myself and so many others be so inaccurate?&nbsp; The =
stats speak=20
  for themselves.&nbsp; You're awesome dude.&nbsp; How does it feel to =
be=20
  on-the-money so consistently?&nbsp; -m</DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Hey, if that was a =
compliment,=20
  thanks!&nbsp; :)&nbsp; But the ad populum is a different=20
  story....</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>But to end this....I didn't =
say anyone=20
  else was inaccurate in my paragraph below, only you. I don't recall =
anyone=20
  saying that I was incessantly emphasizing mechanics over art, and =
single=20
  mindedly trying to get everyone to fall in line. Have you re-read that =
a few=20
  times to realize what you were you really saying about me, and how =
ludicrous=20
  that statement appears in its generalization and meaning? Why would =
you say=20
  that, unless you are purposely just trying to start a meaningless =
debate and=20
  piss me off?&nbsp;&nbsp;&nbsp;Here are a few quotes from those who got =
my=20
  original point, and then moved on to the other topics that&nbsp;spun=20
  off&nbsp;from mine:</STRONG></FONT><FONT face=3DArial size=3D2>&nbsp;=20
</FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>"Yes, we agree completely. I =
skimmed this=20
  thread too quickly and didn't put the quote in its broader context. =
Sorry=20
  about that."</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>"<FONT face=3D"Times New =
Roman" size=3D3>I=20
  can understand the matter of things Kris is talking about. It has =
nothing to=20
  do with musical taste, audience reaction or absolute judgements about =
this or=20
  that "final result".&nbsp;</FONT></STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>"There's a difference between =
an improper=20
  or inappropriate setup and poor technique. Poor technique can be =
revealed=20
  instantly by turning off the fuzz box. And if you never turn off the =
fuxx to=20
  practise, your technique won't get better any time soon. I say this =
from=20
  experience."</STRONG></FONT></DIV><STRONG><FONT face=3DArial=20
  size=3D2></FONT></STRONG></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>I totally admit that I am one =
of the most=20
  obsessively/compulsively analytical posters on this group (and Rick =
knows=20
  why), and it has annoyed many a poster. I also fully admit that my =
writing=20
  style comes across as very academic and, shall I say, sometimes =
pompous?&nbsp;=20
  Yes. That is how I write, but none of it is personal. I take things =
very=20
  literally, and I get very irrated when people take one thing I say and =
then=20
  twist it into something else that is easy to refute. It's like a petty =
version=20
  of slander.&nbsp;&nbsp; Somtimes people take a very litteral post, and =
then=20
  try to read between the lines and extrapolate something entirely=20
  different.&nbsp; That is all good, but it doesn't serve as a basis to =
dispute=20
  the literal point.&nbsp; </STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>It's like I say X, and the =
next thing I=20
  know, someone is saying I said Y, and then refuting Y and getting all =
bent out=20
  of shape over Y.&nbsp; That's fine, but I never said Y, and half of =
the time,=20
  I don't know a single person who would actually maintain Y because it =
is so=20
  obvious (like saying mechanics is more important than art)....for =
cripes sake,=20
  I am a director of a festival that is 100% about art, so I think I =
understand=20
  this point.&nbsp; I loath Y! So, let's get back X.&nbsp;=20
</STRONG></FONT></DIV>
  <DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG>&nbsp;</DIV>
  <DIV><STRONG><FONT face=3DArial size=3D2>Kris</FONT></STRONG></DIV>
  <DIV><STRONG><FONT face=3DArial size=3D2></FONT></STRONG>&nbsp;</DIV>
  <DIV><BR><BR></DIV>
  <DIV class=3Dgmail_quote>On Sat, Dec 20, 2008 at 4:36 PM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
  wrote:<BR>
  <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, if you don't like the =
continuous=20
    refutation, Mikkoz, then quit making statements like:</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
    <DIV>
    <DIV class=3DIh2E3d>
    <DIV>"What I really find bothersome here is the incessant emphasis =
of=20
    mechanics over art, and single-minded effort to get us all to fall =
in=20
    line."</DIV>
    <DIV>&nbsp;</DIV></DIV>
    <DIV><FONT face=3DArial size=3D2>If you are going to make a claim =
about my post,=20
    then I at least deserve one that is accurate, rather than one that =
contorts=20
    my original point and takes is beyond its original =
context.&nbsp;What's up=20
    with that?&nbsp; I never, ever&nbsp;said what you say, and so I =
don't know=20
    why you are the one being so defensive here. If you are going to say =

    something about my post, get it right.&nbsp; I don't take to kindly =
of=20
    someone telling me that I'm "incessantly" doing something, which is =
clearly=20
    not the case.&nbsp; That is self-regulation: If someone says =
something=20
    inaccurate about my post, I'm going to do something about it and =
defend=20
    myself.&nbsp; If you can't handle the free thought and expression, =
or my=20
    personal style of communicating,&nbsp;then stop responding to my =
posts. No=20
    one is twisting your arm to fuel the fire. </FONT></DIV>
    <DIV>&nbsp;</DIV>
    <DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
    <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV></DIV>
    <DIV>
    <DIV></DIV>
    <DIV class=3DWj3C7c>
    <BLOCKQUOTE=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"><BR>&nbsp;</DIV>What=20
      I'm responding to is your continuous refutation of the many =
various=20
      responses to your statements, and the possiblity that your =
statements=20
      might seem somewhat absolute and rhetorical. It's not really a =
discussion=20
      if you continuously say "You don't get my point!" and " . . . =
incorrect=20
      interpretation!" etc. <BR><BR>I understand mechanics and study of =
the=20
      fundamentals and lyricism and discipline in music practices." Do =
you get=20
      MY POINT?" maybe not . . . I've stepped back from this list for =
the most=20
      part because the increasing percentage of pedantic lectures and =
academic=20
      posturing I see and the endless stream of self-promotion. There's =
not=20
      enough time in the day to address it all Kris, and I used to call =
this=20
      place my HOME. I have a great deal of love and affection for a =
good many=20
      folks here, but I find this a hard place to interact anymore. Of =
course I=20
      have other reasons for my reduction of musical activity, but this =
is hard=20
      to ignore, so I'm part of the "self-regulating" feature Kim speaks =
of=97time=20
      to push back!<BR><BR>My very best to all of my friends here! Peace =
OUT . .=20
      . <BR><BR>
      <DIV class=3Dgmail_quote>On Sat, Dec 20, 2008 at 9:35 AM, Krispen =
Hartung=20
      <SPAN dir=3Dltr>&lt;<A href=3D"mailto:info@krispenhartung.com"=20
      target=3D_blank>info@krispenhartung.com</A>&gt;</SPAN> wrote:<BR>
      <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>----- Original Message ----- </DIV>
        <BLOCKQUOTE=20
        style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
5px; BORDER-LEFT: rgb(0,0,0) 2px solid; MARGIN-RIGHT: 0px">
          <DIV>
          <DIV><FONT face=3DArial size=3D2></FONT><BR></DIV>
          <DIV>What I really find bothersome here is the incessant =
emphasis of=20
          mechanics over art, and single-minded effort to get us all to =
fall in=20
          line. </DIV>
          <DIV>&nbsp;</DIV></DIV>
          <DIV>
          <DIV><FONT face=3DArial size=3D2><B>Why would you assume this? =
You mean we=20
          can't have a focused discussion on a particular topic that =
happens to=20
          be technical or mechanical related, without you jumping to the =

          conclusion that we are holding that particular topic as more =
important=20
          than art? That's sort of restrictive and a way of censoring =
our=20
          freedom of&nbsp;thought, wouldn't =
you&nbsp;say?&nbsp;</B></FONT></DIV>
          <DIV><FONT face=3DArial size=3D2><B></B></FONT>&nbsp;</DIV>
          <DIV><FONT face=3DArial size=3D2><B>Bottom line: Having the =
conversation=20
          doesn't mean that we don't understand or value the artistic =
elements=20
          of the music. That is a false cause or false association=20
          fallacy.</B>&nbsp;<B>&nbsp; We are just having the damn =
conversation.=20
          I supposed experts in the marshal arts can't talk about the =
mechanics=20
          of their art (which are very important, btw), without =
disregarding=20
          their art? I don't think so. It's just a conversation about a =
specific=20
          point.</B></FONT><BR><BR>We go about our personal disciplines =
to=20
          accomplish these choices of expression, then we take it into =
the=20
          artistic world to make our statements. Fuzz, no fuzz, dark, =
brite . .=20
          . some of my favorite moments in guitar are ones thet defy =
technique;=20
          how did they do THAT?! moments, and I've had them myself and =
relish=20
          the experience of confounding myself in the act of=20
          expression.<BR><BR>So YEAH: As a guitar teacher, YES, I would=20
          encourage students to get a little technique and backbone, but =
I could=20
          give a shit once they hit the stage or recording studio. DID =
THEY MOVE=20
          ME OR NOT?</DIV>
          <DIV>&nbsp;</DIV></DIV>
          <DIV><FONT face=3DArial size=3D2><B>Good for you. Most of us =
probably=20
          agree with you, I don't know why you are trying to stifle a =
discussion=20
          on a particular point that happens to be mechanical related, =
when we=20
          clearly have never made the claim that it is more important or =

          valuable than the artistic element. I mean, who is going to =
argue for=20
          that?&nbsp; That is a massive straw dog fallacy.&nbsp; I built =
no such=20
          case, so I don't see the point of building it for the sake of =
tearing=20
          it down to look like a counter-argument of the original, =
isolated=20
          claim.</B></FONT></DIV><FONT face=3DArial =
size=3D2></FONT></BLOCKQUOTE>
        <BLOCKQUOTE=20
        style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: =
5px; BORDER-LEFT: rgb(0,0,0) 2px solid; MARGIN-RIGHT: 0px">
          <DIV><FONT face=3DArial size=3D2><B>Kris</B></FONT></DIV>
          <DIV><FONT face=3DArial size=3D2><B></B></FONT>&nbsp;</DIV>
          <DIV><BR></DIV></BLOCKQUOTE></DIV></BLOCKQUOTE></DIV><BR><BR=20
      clear=3Dall><BR>-- <BR>Miko=20
      =
Biffle<BR>Biffoz@Gmail.com<BR>MBiffle@FoxRacingShox.com<BR>"Running =
scared=20
      from all the usual=20
  =
distractions!"<BR></BLOCKQUOTE></DIV></DIV></DIV></BLOCKQUOTE></DIV><BR><=
BR=20
  clear=3Dall><BR>-- <BR>Miko=20
  Biffle<BR>Biffoz@Gmail.com<BR>MBiffle@FoxRacingShox.com<BR>"Running =
scared=20
  from all the usual distractions!"<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0186_01C962B6.B055C230--

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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Kris,

I'm glad to see you at least admit your ob/com/anal behaviour is "annoying",
"academic" and "pompous".  But it's "nothing personal".  You don't expect
that these self-described actions might elicit responses in and of
themselves??? Again, I'm talking about the difference between hanging with
friends here and feeling like it's a freakin' courtroom.  You want to be the
seargeant at arms and call rules of order, cite quotations to prove your
case etc. It's f-ing getting old man. Wake up dude. I realize you're a
festival promoter and have done some insanely generous work for this
community but you could also do yourself and the rest of us a real favor by
moderating your self-described (above and below) style. Sincerly Kris, I
won't be around here much to bother you with this kind of crap anyway.  -m

On Sat, Dec 20, 2008 at 5:21 PM, Krispen Hartung <info@krispenhartung.com>wrote:

>  ----- Original Message -----
>
>
> How can myself and so many others be so inaccurate?  The stats speak for
> themselves.  You're awesome dude.  How does it feel to be on-the-money so
> consistently?  -m
>
>  *I totally admit that I am one of the most obsessively/compulsively
> analytical posters on this group (and Rick knows why), and it has annoyed many
> a poster. I also fully admit that my writing style comes across as very
> academic and, shall I say, sometimes pompous?  Yes. That is how I write, *
>
> But why Kris, why???

> *but none of it is personal. I take things very literally, and I get very
> irrated when people take one thing I say and then twist it into something
> else that is easy to refute. It's like a petty version of slander.
> Somtimes people take a very litteral post, and then try to read between the
> lines and extrapolate something entirely different.  That is all good, but
> it doesn't serve as a basis to dispute the literal point.  *
> **
> *It's like I say X, and the next thing I know, someone is saying I said Y,
> and then refuting Y and getting all bent out of shape over Y.  That's fine,
> but I never said Y, and half of the time, I don't know a single person who
> would actually maintain Y because it is so obvious (like saying mechanics is
> more important than art)....for cripes sake, I am a director of a festival
> that is 100% about art, so I think I understand this point.  I loath Y! So,
> let's get back X.  *
> **
> *Kris*
>
>

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Kris,<br><br>I&#39;m glad to see you at least admit your ob/com/anal behaviour is &quot;annoying&quot;, &quot;academic&quot; and &quot;pompous&quot;.&nbsp; But it&#39;s &quot;nothing personal&quot;.&nbsp; You don&#39;t expect that these self-described actions might elicit responses in and of themselves??? Again, I&#39;m talking about the difference between hanging with friends here and feeling like it&#39;s a freakin&#39; courtroom.&nbsp; You want to be the seargeant at arms and call rules of order, cite quotations to prove your case etc. It&#39;s f-ing getting old man. Wake up dude. I realize you&#39;re a festival promoter and have done some insanely generous work for this community but you could also do yourself and the rest of us a real favor by moderating your self-described (above and below) style. Sincerly Kris, I won&#39;t be around here much to bother you with this kind of crap anyway.&nbsp; -m<br>
<br><div class="gmail_quote">On Sat, Dec 20, 2008 at 5:21 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<br><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>----- Original Message ----- </div>
<blockquote style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;"><div class="Ih2E3d">
  <div><br></div>
  <div>How can myself and so many others be so inaccurate?&nbsp; The stats speak 
  for themselves.&nbsp; You&#39;re awesome dude.&nbsp; How does it feel to be 
  on-the-money so consistently?&nbsp; -m</div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  </div>
  <div><font face="Arial" size="2"><b>I totally admit that I am one of the most 
  obsessively/compulsively analytical posters on this group (and Rick knows 
  why), and it has <span style="color: rgb(255, 0, 0); font-family: comic sans ms,sans-serif;">annoyed </span>many a poster. I also fully admit that my writing 
  style comes across as very <span style="font-family: comic sans ms,sans-serif; color: rgb(255, 0, 0);">academic</span> and, shall I say, sometimes <span style="font-family: comic sans ms,sans-serif; color: rgb(255, 0, 0);">pompous</span>?&nbsp; 
  Yes. That is how I write, </b></font></div></blockquote></div></blockquote><div>But why Kris, why???&nbsp;</div><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"><blockquote style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;"><div><font face="Arial" size="2"><b>but none of it is personal. I take things very 
  literally, and I get very irrated when people take one thing I say and then 
  twist it into something else that is easy to refute. It&#39;s like a petty version 
  of slander.&nbsp;&nbsp; Somtimes people take a very litteral post, and then 
  try to read between the lines and extrapolate something entirely 
  different.&nbsp; That is all good, but it doesn&#39;t serve as a basis to dispute 
  the literal point.&nbsp; </b></font></div>
  <div><font face="Arial" size="2"><b></b></font>&nbsp;</div>
  <div><font face="Arial" size="2"><b>It&#39;s like I say X, and the next thing I 
  know, someone is saying I said Y, and then refuting Y and getting all bent out 
  of shape over Y.&nbsp; That&#39;s fine, but I never said Y, and half of the time, 
  I don&#39;t know a single person who would actually maintain Y because it is so 
  obvious (like saying mechanics is more important than art)....for cripes sake, 
  I am a director of a festival that is 100% about art, so I think I understand 
  this point.&nbsp; I loath Y! So, let&#39;s get back X.&nbsp; 
</b></font></div>
  <div><b><font face="Arial" size="2"></font></b>&nbsp;</div>
  <div><b><font face="Arial" size="2">Kris</font></b></div></blockquote></div></blockquote></div>

------=_Part_31746_319707.1229813463943--

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Date: Sat, 20 Dec 2008 16:51:46 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com, Toby Graves <carpet8@mac.com>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Quoting Toby Graves <carpet8@mac.com>:
>
> The evidence:  hit a C7 flat nine chord with distortion on.  It clashes
> with itself.  Hit the chord on a clean channel.  How does it sound now?
>  What is causing the interference?
>
This would be Intermodulation Distortion (IM).

If you are tuned to beatless intervals then the resulting sound will  
not be as complex (mangeled??) then tempered.

If you were to play each string on its own channel through seperate  
distortion units, you would get a "cleaner" sound -- more like a synth  
-- because you would clip each note seperately and avoid the IM.

Basically, if the frequencies of the strings are integral ratios (1:1,  
2:1, 2:3, etc...) then you will get a pretty "straight tone".  A ratio  
such as 2.3:1 will give you complex IM compared to a simple, integral  
ratio.

-- Kevin

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Subject: OT: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Quoting Mikkoz <biffoz@gmail.com>:
>
> Kris,
>
> I'm glad to see you at least admit your ob/com/anal behaviour is "annoying=
",
> "academic" and "pompous"....
>

I must admit, I am really taken aback and totally offended because...

all this build up... all these emails... and nothing -- NOTHING -- =20
about the topic that I piqued my interest in the first place:

the SECRET GOO!!

I open each email, hoping to hear how secret Goo will help me find THE =20
SOUND that I've been looking for.

And, now I am all worked up -- and sad -- and disappointed that there =20
is still no goo.  NO F'N GOO!!!

And the lack of Secret Goo is an outrage!

I have tried to practice all day and I cannot concentrate because I =20
keep thinking that, "I wonder what this would sound like with some of =20
that secret goo?"  And, now, I find myself dissatisfied with my sound =20
because I just KNOW that it would sound so awesome if I just had a =20
dollop of secret goo.

Anyway, I'm trying to pull myself together now.  My wife and kids say =20
that I'm so obsessed with secret goo that they don't want to hang =20
around me anymore.  Even my cat runs away when I enter the room.  My =20
life is falling apart and I fear that without secret goo I may be =20
powerless to pull it together again.

Anyway, forgive me for ranting about secret goo here.  Things will improve.

Your loopy-looping friend from Missouri,

Kevin

From Loopers-Delight-request@loopers-delight.com  Sat Dec 20 23:25:10 2008
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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <494C7A44.8020200@cruzio.com><588ce11d0812192138jf023d7bg1d720f1ecd0eefca@mail.gmail.com><3fa302e30812192217p7e2b4cc8o9516639f18f72e80@mail.gmail.com><BLU0-SMTP453FCE9A1F9DA4B6D21482DCF10@phx.gbl><3fa302e30812201228i6e3e1502mb99e37ce7e71d85f@mail.gmail.com><BLU0-SMTP49CA092489FFA164C8F204DCF10@phx.gbl><3fa302e30812201349r517c49adxc9149a05fc337573@mail.gmail.com><BLU0-SMTP4943F1DEBB4B88D8EFCE1FDCF10@phx.gbl><3fa302e30812201451ld316b1bie8dd8472b98280ba@mail.gmail.com> <20081220170714.g2ivkuxgqogoc840@mail.kevinkissinger.com>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo: now off the chain
Date: Sat, 20 Dec 2008 18:25:09 -0500
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Hey Kevin, buck up man! Do what I do, Google it!

http://tiny.cc/eoh9W


Jeff

"It never hurts to help!"
_ Eek the Cat


----- Original Message ----- 
From: <kkissinger@kevinkissinger.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, December 20, 2008 6:07 PM
Subject: OT: distortion, overdrive,fuzz,crunch,special sauce, secret goo


Quoting Mikkoz <biffoz@gmail.com>:
>
> Kris,
>
> I'm glad to see you at least admit your ob/com/anal behaviour is 
> "annoying",
> "academic" and "pompous"....
>

I must admit, I am really taken aback and totally offended because...

all this build up... all these emails... and nothing -- NOTHING --
about the topic that I piqued my interest in the first place:

the SECRET GOO!!

I open each email, hoping to hear how secret Goo will help me find THE
SOUND that I've been looking for.

And, now I am all worked up -- and sad -- and disappointed that there
is still no goo.  NO F'N GOO!!!

And the lack of Secret Goo is an outrage!

I have tried to practice all day and I cannot concentrate because I
keep thinking that, "I wonder what this would sound like with some of
that secret goo?"  And, now, I find myself dissatisfied with my sound
because I just KNOW that it would sound so awesome if I just had a
dollop of secret goo.

Anyway, I'm trying to pull myself together now.  My wife and kids say
that I'm so obsessed with secret goo that they don't want to hang
around me anymore.  Even my cat runs away when I enter the room.  My
life is falling apart and I fear that without secret goo I may be
powerless to pull it together again.

Anyway, forgive me for ranting about secret goo here.  Things will improve.

Your loopy-looping friend from Missouri,

Kevin



--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.9.19/1857 - Release Date: 12/19/2008 
10:09 AM

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 00:32:46 2008
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References: <494C7A44.8020200@cruzio.com> <588ce11d0812192138jf023d7bg1d720f1ecd0eefca@mail.gmail.com> <3fa302e30812192217p7e2b4cc8o9516639f18f72e80@mail.gmail.com> <BLU0-SMTP453FCE9A1F9DA4B6D21482DCF10@phx.gbl> <3fa302e30812201228i6e3e1502mb99e37ce7e71d85f@mail.gmail.com> <BLU0-SMTP49CA092489FFA164C8F204DCF10@phx.gbl> <3fa302e30812201349r517c49adxc9149a05fc337573@mail.gmail.com> <BLU0-SMTP4943F1DEBB4B88D8EFCE1FDCF10@phx.gbl> <3fa302e30812201451ld316b1bie8dd8472b98280ba@mail.gmail.com>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Sat, 20 Dec 2008 17:32:41 -0700
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  Kris,

  I'm glad to see you at least admit your ob/com/anal behaviour is =
"annoying", "academic" and "pompous".  But it's "nothing personal".  You =
don't expect that these self-described actions might elicit responses in =
and of themselves???=20

  Yes, I absolutely expect them to elicit responses, and they do =
evvvvery single time. :)   Aren't your responses proof of that?  You've =
given me a jolly ol' time. =20

  Again, I'm talking about the difference between hanging with friends =
here and feeling like it's a freakin' courtroom.  You want to be the =
seargeant at arms and call rules of order, cite quotations to prove your =
case etc. It's f-ing getting old man.=20

  Hey, sorry man. I'm just being my normal internet self. Next time I'll =
put on a happy face and sing Joy the World as a response to every post I =
read, and then say (as, was it Johnny Carson's side man?) "You are =
correct sir!" "May I have another misinterpretation?"   I'll accept =
PayPal donations to made a video of that, btw....

  Wake up dude. I realize you're a festival promoter and have done some =
insanely generous work for this community but you could also do yourself =
and the rest of us a real favor by moderating your self-described (above =
and below) style.=20

  Okay, dude, let me see if I can awake from my self-indulgent, =
court-room, Spock slumber and find that "Steppford Kris" lying around =
the closet somewhere.  Being myself is really starting to get old.  =
[yawn]. =20

  Next!

  Kris


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<STYLE></STYLE>
</HEAD>
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<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>Kris,<BR><BR>I'm glad to see you at least admit your ob/com/anal=20
  behaviour is "annoying", "academic" and "pompous".&nbsp; But it's =
"nothing=20
  personal".&nbsp; You don't expect that these self-described actions =
might=20
  elicit responses in and of themselves??? </DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Yes, I absolutely expect them =
to elicit=20
  responses, and they do evvvvery&nbsp;single time. :)&nbsp;&nbsp; =
Aren't your=20
  responses proof of that?&nbsp; You've given me a jolly ol' time.&nbsp; =

  </STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>Again, I'm talking about the difference between hanging with =
friends here=20
  and feeling like it's a freakin' courtroom.&nbsp; You want to be the =
seargeant=20
  at arms and call rules of order, cite quotations to prove your case =
etc. It's=20
  f-ing getting old man. </DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Hey, sorry man. I'm just =
being my normal=20
  internet self. Next time I'll put on a happy face and sing Joy the =
World as a=20
  response to every post I read, and then say (as, was it Johnny =
Carson's side=20
  man?) "You are correct sir!" "</STRONG><STRONG>May I have another=20
  misinterpretation?"&nbsp;&nbsp; I'll accept PayPal donations to made a =
video=20
  of that, btw....</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>Wake up dude. I realize you're a festival promoter and have done =
some=20
  insanely generous work for this community but you could also do =
yourself and=20
  the rest of us a real favor by moderating your self-described (above =
and=20
  below) style. </DIV>
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Okay, dude, let me see if I =
can awake=20
  from my self-indulgent, court-room, Spock slumber and&nbsp;find that=20
  "Steppford Kris" lying around the closet somewhere.&nbsp; Being myself =
is=20
  really starting to get old.&nbsp; [yawn].&nbsp; </STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG>Next!</STRONG></FONT></DIV>
  <DIV><FONT face=3DArial size=3D2><STRONG></STRONG></FONT>&nbsp;</DIV>
  <DIV><STRONG>Kris</STRONG></DIV>
  <DIV><BR>&nbsp;</DIV></BLOCKQUOTE></BODY></HTML>

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To: <Loopers-Delight@loopers-delight.com>
Subject: RE: G.P's review of KLOBUCHAR'S MYSPACE
Date: Sat, 20 Dec 2008 19:57:27 -0500
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Nice job! A looper broke through the "shredder" glass ceiling usually upheld
by this page in GP!!!

 

Congrats. Very cool tune, too!!!!!!!!

 

Ed in NJ

http://www.myspace.com/edward_yuhas

 

 


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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'>Nice job! A looper broke through =
the &#8220;shredder&#8221;
glass ceiling usually upheld by this page in =
GP!!!<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>Congrats. Very cool tune, =
too!!!!!!!!<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>Ed in =
NJ<o:p></o:p></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.myspace.com/edward_yuhas">http://www.myspace.com/edwar=
d_yuhas</a><o:p></o:p></span></font></p>

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Date: Sat, 20 Dec 2008 20:40:29 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: G.P's review of KLOBUCHAR'S MYSPACE
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I agree Michael re 'A looper broke through the "shredder" glass ceiling' and
as my now deceased dad used to say, 'any press is good press'.  'Develop' is
extremely open to a wide range of interpretation and holding up to Santana
who granted has this thick distinct enveloping lead sound that has carried
him, I don't necessarily see that as the icon for you to be compared with
but they need some commercial 'safe' standard to use so reference you in
that light is a compliment in it self.  Congradulations on the visibility
Michael...

Jim


On Sat, Dec 20, 2008 at 7:57 PM, ejyuhas <ejyuhas@embarqmail.com> wrote:

>  Nice job! A looper broke through the " " glass ceiling usually upheld by
> this page in GP!!!
>
>  ,
>
> Congrats. Very cool tune, too!!!!!!!!
>
>
>
> Ed in NJ
>
> http://www.myspace.com/edward_yuhas
>
>
>
>
>



-- 
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

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<div>I agree Michael re &#39;<font color="#000080">A looper broke through the "shredder" glass ceiling&#39; and as my now deceased dad used to say, &#39;any press is good press&#39;.&nbsp; &#39;Develop&#39; is extremely open to a wide range of interpretation and holding up to Santana who granted has this thick distinct enveloping lead sound that has carried him, I don&#39;t necessarily see that as the icon for you to be compared with but they need some commercial &#39;safe&#39; standard to use so reference you in that light is a compliment in it self.&nbsp; Congradulations on the visibility Michael...</font></div>

<p>Jim</p>
<div><br><br></div>
<div class="gmail_quote">On Sat, Dec 20, 2008 at 7:57 PM, ejyuhas <span dir="ltr">&lt;<a href="mailto:ejyuhas@embarqmail.com">ejyuhas@embarqmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<div lang="EN-US" vlink="purple" link="blue">
<div>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Nice job! A looper broke through the " " glass ceiling usually upheld by this page in GP!!!</span></font></p>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">&nbsp;, </span></font></p>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Congrats. Very cool tune, too!!!!!!!!</span></font></p>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">&nbsp;</span></font></p>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">Ed in NJ</span></font></p>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial"><a href="http://www.myspace.com/edward_yuhas" target="_blank">http://www.myspace.com/edward_yuhas</a></span></font></p>

<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">&nbsp;</span></font></p>
<p><font face="Arial" color="navy" size="2"><span style="FONT-SIZE: 10pt; COLOR: navy; FONT-FAMILY: Arial">&nbsp;</span></font></p></div></div></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin &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>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 02:10:49 2008
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Subject: OT:distortion, overdrive,fuzz,crunch,special sauce, secret goo
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isn't "special sauce, secret goo" a comment in "space jam" w/ bugs bunny an=
d michael jordan?
oh my gosh, thanks for all the posts, that debate made my day, and we wonde=
r why we can't get along in the world, we can't even agree on distortion/ov=
erdrive/fuzz/crunch sounds etc...haha
=A0
yes, it is all subjective, i think i remember first hearing hendrix before =
i started to play guitar, and i thought his sound was the heaviest, hardest=
, fill in the adjectives....
then i remember seeing a live clip on MTV i think a few yrs back, the one o=
f purple haze at a club in london early in his career ('67), and i remember=
 listening to the sound of his guitar, he may have had a fuzz box, but was =
hard to tell (no shots of the floor), i think he had just one marshall amp,=
 anyway, hearing that after yrs of playing, and experimenting w/ different =
effects, i thought his sound was almost country twangy. it was weird.
i've had the same effect in relistening to 80's adrian belew, his stuff doe=
sn't sound that distorted to my ears now, and hey, it could be old age and =
going deaf from guitar-who knows....so, yeah, in arguing that, there is no =
winner...but good points
its funny to talk about teaching beginning guitar students (i don't) but my=
 son has had 3 lessons now, he's learned E and A, i told him, well it's tim=
e to start a punk band.
oh, as for the piano reference, i know a few good piano players, and i will=
 say that i've heard them talk (bitch and moan) about how bad certain piano=
s sound vs other ones...the problem is it's hard to control for them (can't=
 just restring, or retune, or put different battery in a box), i'm sure mos=
t people can't tell the difference, but they can....
s---
ps-i will say since i've been playing in '83, i used to go for the most dis=
torted sound i could get, (and i went yrs w/o an effects box at all b/c i c=
ouldn't afford=A0one), but once my 50 watt amp died 2 yrs ago, i've had 2 s=
mall amps , 10 watt marshall, and a 12 watt Kustom tube amp, and in both of=
 the amps, I HATED THE NATURAL DISTORTION of the overdrive channel, it just=
 sounded horrible, i much rather have clean amp, then control my distortion=
 w/ my 2 amp modellers (yes 2), so i guess i prefer preamp distortion, an i=
dea i've heard both nels cline and david torn have talked about in intervie=
ws...and again maybe for me it's because i don't own a boutique super disto=
rtion option amp....
oh well, happy looping....=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>isn't "special sauce, secret goo" a comment in "space jam" w/ bugs bunny and michael jordan?</DIV>
<DIV>oh my gosh, thanks for all the posts, that debate made my day, and we wonder why we can't get along in the world, we can't even agree on distortion/overdrive/fuzz/crunch sounds etc...haha</DIV>
<DIV>&nbsp;</DIV>
<DIV>yes, it is all subjective, i think i remember first hearing hendrix before i started to play guitar, and i thought his sound was the heaviest, hardest, fill in the adjectives....</DIV>
<DIV>then i remember seeing a live clip on MTV i think a few yrs back, the one of purple haze at a club in london early in his career ('67), and i remember listening to the sound of his guitar, he may have had a fuzz box, but was hard to tell (no shots of the floor), i think he had just one marshall amp, anyway, hearing that after yrs of playing, and experimenting w/ different effects, i thought his sound was almost country twangy. it was weird.</DIV>
<DIV>i've had the same effect in relistening to 80's adrian belew, his stuff doesn't sound that distorted to my ears now, and hey, it could be old age and going deaf from guitar-who knows....so, yeah, in arguing that, there is no winner...but good points</DIV>
<DIV>its funny to talk about teaching beginning guitar students (i don't) but my son has had 3 lessons now, he's learned E and A, i told him, well it's time to start a punk band.</DIV>
<DIV>oh, as for the piano reference, i know a few good piano players, and i will say that i've heard them talk (bitch and moan) about how bad certain pianos sound vs other ones...the problem is it's hard to control for them (can't just restring, or retune, or put different battery in a box), i'm sure most people can't tell the difference, but they can....</DIV>
<DIV>s---</DIV>
<DIV>ps-i will say since i've been playing in '83, i used to go for the most distorted sound i could get, (and i went yrs w/o an effects box at all b/c i couldn't afford&nbsp;one), but once my 50 watt amp died 2 yrs ago, i've had 2 small amps , 10 watt marshall, and a 12 watt Kustom tube amp, and in both of the amps, I HATED THE NATURAL DISTORTION of the overdrive channel, it just sounded horrible, i much rather have clean amp, then control my distortion w/ my 2 amp modellers (yes 2), so i guess i prefer preamp distortion, an idea i've heard both nels cline and david torn have talked about in interviews...and again maybe for me it's because i don't own a boutique super distortion option amp....</DIV>
<DIV>oh well, happy looping....</DIV></td></tr></table><br>

      
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Subject: Re: OT:distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Scott your right, Hendrix, if you really listen to his studio stuff =
didn't use alot of distortion except when needed. His clean sound was =
out of this world. Listen to "All Along the Watchtower" from Electric =
Ladyland. The range of tones is amazing!
but then again some times it's what you want:=20
http://www.youtube.com/watch?v=3DzMTSPx7dNBE

peace,

Jeff




Scott said
>thought his sound was the heaviest, hardest, fill in the adjectives....
>then i remember seeing a live clip on MTV i think a few yrs back, the =
one of purple haze at a club in >london early in his career ('67), and i =
remember listening to the sound of his guitar, he may have had a >fuzz =
box, but was hard to tell (no shots of the floor), i think he had just =
one marshall amp, anyway, >hearing that after yrs of playing, and =
experimenting w/ different effects, i thought his sound was almost =
>country twangy. it was weird
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<STYLE></STYLE>
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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Scott your right, Hendrix, if you =
really listen to=20
his studio stuff didn't use alot of distortion except when needed. His =
clean=20
sound was out of this world. Listen to "All Along the Watchtower" from =
Electric=20
Ladyland. The range of tones is amazing!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>but then again some times =
it's&nbsp;what you=20
want:&nbsp;</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3DzMTSPx7dNBE">http://www.youtube.=
com/watch?v=3DzMTSPx7dNBE</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>peace,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff<A=20
href=3D"http://www.youtube.com/watch?v=3DUSbJ4pfHmfg"></A><A=20
href=3D"http://www.youtube.com/watch?v=3DpqVjw8cFdas"></A><A=20
href=3D"http://www.youtube.com/watch?v=3DsVvtIS2YGVI"></A></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></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Scott said</FONT></DIV>
<DIV>
<DIV>&gt;thought his sound was the heaviest, hardest, fill in the=20
adjectives....</DIV>
<DIV>&gt;then i remember seeing a live clip on MTV i think a few yrs =
back, the=20
one of purple haze at a club in &gt;london early in his career ('67), =
and i=20
remember listening to the sound of his guitar, he may have had a =
&gt;fuzz box,=20
but was hard to tell (no shots of the floor), i think he had just one =
marshall=20
amp, anyway, &gt;hearing that after yrs of playing, and experimenting w/ =

different effects, i thought his sound was almost &gt;country twangy. it =
was=20
weird</DIV></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 02:46:29 2008
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From: "Buzap Buzap" <buzap@gmx.net>
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Hi folks

I was just packing some stuff when I thought about it:
It would be neat to have small box, possibly with FX, to connect a guitar signal (guitar or mic with RC-2 looper) to headphones/stereo when travelling.

So what do you think?
- Should I get a Korg Pandora PX-1 on Ebay?
Is the quality ok for travelling purposes? Or should I invest more in a PX-3 etc.?

- Would a Korg Pandora PX-5D be a good allround tool?
Does it really hold for live playing or is it just a small practice tool? Would it work as post-loop FX or as a useable bass amp simulation?

- Do you recommend something alltogether different for travelling purpose (i.e. Vox..)?

Thanks
Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

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         M045AjBb6GSkX1ABQzdeIXwWpEjjUdeCQpLgk=
Message-ID: <3fa302e30812202001q6f8834c2xfc82fb36955c12b7@mail.gmail.com>
Date: Sat, 20 Dec 2008 23:01:26 -0500
From: Mikkoz <biffoz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Nice processing Kris, see ya later . . .

On Sat, Dec 20, 2008 at 7:32 PM, Krispen Hartung <info@krispenhartung.com>wrote:

>
>
> Kris,
>
> I'm glad to see you at least admit your ob/com/anal behaviour is
> "annoying", "academic" and "pompous".  But it's "nothing personal".  You
> don't expect that these self-described actions might elicit responses in and
> of themselves???
>
> *Yes, I absolutely expect them to elicit responses, and they do
> evvvvery single time. :)   Aren't your responses proof of that?  You've
> given me a jolly ol' time.  *
>
> Again, I'm talking about the difference between hanging with friends here
> and feeling like it's a freakin' courtroom.  You want to be the seargeant at
> arms and call rules of order, cite quotations to prove your case etc. It's
> f-ing getting old man.
>
> *Hey, sorry man. I'm just being my normal internet self. Next time I'll
> put on a happy face and sing Joy the World as a response to every post I
> read, and then say (as, was it Johnny Carson's side man?) "You are correct
> sir!" "**May I have another misinterpretation?"   I'll accept PayPal
> donations to made a video of that, btw....*
>
> Wake up dude. I realize you're a festival promoter and have done some
> insanely generous work for this community but you could also do yourself and
> the rest of us a real favor by moderating your self-described (above and
> below) style.
>
> *Okay, dude, let me see if I can awake from my self-indulgent, court-room,
> Spock slumber and find that "Steppford Kris" lying around the closet
> somewhere.  Being myself is really starting to get old.  [yawn].  *
> **
> *Next!*
> **
> *Kris*
>
>
>
>


-- 
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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Nice processing Kris, see ya later . . . <br><br><div class="gmail_quote">On Sat, Dec 20, 2008 at 7:32 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<br>
<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"></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 class="Ih2E3d">
  <div>Kris,<br><br>I&#39;m glad to see you at least admit your ob/com/anal 
  behaviour is &quot;annoying&quot;, &quot;academic&quot; and &quot;pompous&quot;.&nbsp; But it&#39;s &quot;nothing 
  personal&quot;.&nbsp; You don&#39;t expect that these self-described actions might 
  elicit responses in and of themselves??? </div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  </div><div><font face="Arial" size="2"><b>Yes, I absolutely expect them to elicit 
  responses, and they do evvvvery&nbsp;single time. :)&nbsp;&nbsp; Aren&#39;t your 
  responses proof of that?&nbsp; You&#39;ve given me a jolly ol&#39; time.&nbsp; 
  </b></font></div><div class="Ih2E3d">
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div>Again, I&#39;m talking about the difference between hanging with friends here 
  and feeling like it&#39;s a freakin&#39; courtroom.&nbsp; You want to be the seargeant 
  at arms and call rules of order, cite quotations to prove your case etc. It&#39;s 
  f-ing getting old man. </div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  </div><div><font face="Arial" size="2"><b>Hey, sorry man. I&#39;m just being my normal 
  internet self. Next time I&#39;ll put on a happy face and sing Joy the World as a 
  response to every post I read, and then say (as, was it Johnny Carson&#39;s side 
  man?) &quot;You are correct sir!&quot; &quot;</b><b>May I have another 
  misinterpretation?&quot;&nbsp;&nbsp; I&#39;ll accept PayPal donations to made a video 
  of that, btw....</b></font></div><div class="Ih2E3d">
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  <div>Wake up dude. I realize you&#39;re a festival promoter and have done some 
  insanely generous work for this community but you could also do yourself and 
  the rest of us a real favor by moderating your self-described (above and 
  below) style. </div>
  <div><font face="Arial" size="2"></font>&nbsp;</div>
  </div><div><font face="Arial" size="2"><b>Okay, dude, let me see if I can awake 
  from my self-indulgent, court-room, Spock slumber and&nbsp;find that 
  &quot;Steppford Kris&quot; lying around the closet somewhere.&nbsp; Being myself is 
  really starting to get old.&nbsp; [yawn].&nbsp; </b></font></div>
  <div><font face="Arial" size="2"><b></b></font>&nbsp;</div>
  <div><font face="Arial" size="2"><b>Next!</b></font></div>
  <div><font face="Arial" size="2"><b></b></font>&nbsp;</div>
  <div><b>Kris</b></div>
  <div><br>&nbsp;</div></blockquote></div>
</blockquote></div><br><br clear="all"><br>-- <br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the usual distractions!&quot;<br>

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Subject: the era of looping fish?
Date: Sat, 20 Dec 2008 22:46:57 -0600
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Did you ever see this stuff?

http://zenstorming.posterous.com/video-and-article-scientists-t

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<DIV><FONT face=3DArial size=3D2>Did you ever see this =
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<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: special sauce, secret goo
Date: Sat, 20 Dec 2008 23:00:25 -0800
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Hey!   can't we get back to talking about Special Sauce and Secret Goo?  I'm
with Kevin,  and I started this thread, OK? So blog buddies what's your
poison, I know we've been over this before but it bears repeating, as
peoples taste and gizmos change.  What distortion are you using and what do
you like? Are you an overdrive and amp distortion guy like me, does
distortion  do  it for you, are you a metal monger?  or are you a fuzz
fancier, ( there should be a periodical called Fuzz Fancy like Dog Fancy the
magazine for dog lovers)  show me what you got and tell me why. I love my
newest overdrive the Zendrive, as I previously stated, great at any setting
,and the Twin Tube is also very good sounding and tube driven  and a little
more unruly and prone to feedback, at high settings.  I've been digging the
octave fuzz setting on the M-13 lately that sounds great on the lap steel ,
I can get sub octave death metal lap steel tones,  oh baby!

Bill

 


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey!&nbsp; &nbsp;can&#8217;t we get back to talking =
about
Special Sauce and Secret Goo?&nbsp; I&#8217;m with Kevin, &nbsp;and I =
started
this thread, OK? So blog buddies what&#8217;s your poison, I know =
we&#8217;ve
been over this before but it bears repeating, as peoples taste and =
gizmos
change. &nbsp;What distortion are you using and what do you like? Are =
you an
overdrive and amp distortion guy like me, does distortion&nbsp; do =
&nbsp;it for
you, are you a metal monger? &nbsp;or are you a fuzz fancier, ( there =
should be
a periodical called Fuzz Fancy like Dog Fancy the magazine for dog =
lovers) &nbsp;show
me what you got and tell me why. I love my newest overdrive the =
Zendrive, as I
previously stated, great at any setting ,and the Twin Tube is also very =
good
sounding and tube driven &nbsp;and a little more unruly and prone to =
feedback,
at high settings.&nbsp; I&#8217;ve been digging the octave fuzz setting =
on the
M-13 lately that sounds great on the lap steel , &nbsp;I can get sub =
octave death
metal lap steel tones, &nbsp;oh baby!<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>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Re: G.P's review of KLOBUCHAR'S MYSPACE
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Hey Michael, a tepid review by a guy with conventional taste in guitar, and
perhaps an addiction to the thrill of stunt guitar weedly, weeedly, the
players he usually features would give evidence to that, is a Good Thing!
It's a call to arms, by someone trying to critique what you do based on
conventional notions of form.  He obviously hasn't been spinning any Henry
Kaiser, or Fred Frith platters lately I would venture to guess. I read a
great interview with guitarist Earl Slick one time, and he was talking about
his tenure with John Lennon (lucky bastard) and Yoko Ono in specific.  He
said something to the effect that most people simply don't get abstract
music, it makes them uncomfortable and even scares them, and in a way Yoko's
music was savaged because people were judging it in the context of John
Lennon's work which was absurd. He went on to praise Yoko both for her
creativity and her character.  Scoots, the guitar world needs more nuts of
your variety in the great guitar nut bowl. Now don't go learning Samba Pa Ti
unless you really twist it around.

Billy Bob Walker

 


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Hey Michael, a tepid review by a guy with =
conventional taste
in guitar, and perhaps an addiction to the thrill of stunt guitar =
weedly,
weeedly, the players he usually features would give evidence to that, is =
a Good
Thing! &nbsp;It&#8217;s a call to arms, by someone trying to critique =
what you
do based on conventional notions of form. &nbsp;He obviously =
hasn&#8217;t been
spinning any Henry Kaiser, or Fred Frith platters lately I would venture =
to
guess. I read a great interview with guitarist Earl Slick one time, and =
he was
talking about his tenure with John Lennon (lucky bastard) and Yoko Ono =
in
specific.&nbsp; He said something to the effect that most people simply =
don&#8217;t
get abstract music, it makes them uncomfortable and even scares them, =
and in a
way Yoko&#8217;s music was savaged because people were judging it in the
context of John Lennon&#8217;s work which was absurd. He went on to =
praise Yoko
both for her creativity and her character. &nbsp;Scoots, the guitar =
world needs
more nuts of your variety in the great guitar nut bowl. Now don&#8217;t =
go
learning Samba Pa Ti unless you really twist it =
around.<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'>Billy Bob Walker<o:p></o:p></span></font></p>

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

</div>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 07:39:10 2008
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From: RICHARD SALES <richard@glasswing.com>
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Subject: Re: special sauce, secret goo
Date: Sat, 20 Dec 2008 23:39:07 -0800
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I'm not personally real big on the fuzz that makes all guitars sound =20
the same.  I have a Twin Tube too and it's GREAT for that monolithic =20
chain saw sound.  It's also good for clean country like sounds too.  =20
Used it almost exclusively for music for film for a long time but got =20=

tired of the sound.  A friend gave me a HipKitty distortion box =20
recently that's kind of nice.  Hand made, cheap, hand painted so it =20
looks sort of something made by a boy scout.  But it keeps the tone of =20=

the guitar in tact.  Being basically a clean tone player I haven't =20
really pushed it much, but it seems more controllable and dynamic than =20=

other fuzzes I've tried.  It seems to interact with the volume out of =20=

the guitar better than most - it's a little more like a real amp - =20
lower volume, less crunch.  Also use the Sex Drive which is really =20
great for a clean, compressed, just the slightest bit of hair kind of =20=

distortion.  And sustain.

I guess for me it's more about compression and sustain.  And more than =20=

that, a great amp and guitar.

I saw Hendrix live and LOVED his tone.  Small room, before he was =20
gigantic.  With the Soft Machine opening.  Great show.

But the big issue for me is that so many stomp boxes are so =20
recognizable and it makes for a sort of stampede of conformity.

To me, the best is a really great sounding guitar through a really =20
great old tube amp just singing without a whole lot of Louis Armstrong =20=

gargling b-b's kind of sound.   And with the collapse of the US =20
economy, some very wonderful amps can now be bought pretty cheap.  I =20
see old tweed Fender Pro's going for way less than a year ago.  And of =20=

course, my fave, the Magnatone or Panaramic 213 is just like walking =20
in the holy land.  And I'm falling back in love with the 1972 Marshall =20=

50 watt head I bought a few years back.  They're actually nice amps =20
when not turned up to career ruining levels.

Also the T Rex Replica - the echo - has a great "Brown Tone" button on =20=

it that gives it that tone without all the 36" Husqvarna chain saw =20
sound.  ANd they're really cool folks.

I really believe a good guitarist can SQUEEZE the sound out of a less =20=

than perfect rig.  I've seen it many times.  You adjust your magic =20
tricks to the size of the rabbit and breadth of the hat.

Haven't tried the Zendrive.  Of course, the combination of the words =20
Zen and drive is a bit of an oxymoron.  But if Bill likes it, I sure do!

Now I'll have to check it out.

It's snowing - actually a blizzard here on the island now.  Our well =20
pump froze today - no water!  Fixed that.  Fixed the frozen pipes in =20
the cottage.  Fixed the frozen septic pump on my son's house.  It =20
exploded brown dookey all over my son who was trying to fix it!  Been =20=

plowing our drive and our neighbor's drive - it's a Tibetan Buddhist =20
temple - for the past bunch of days.  (Long driveways) SHeesh!  This =20
place is supposed to be fairly balmy this time of year.  But it's =20
great weather for practicing guitar and getting studio work done.

Peace inside and out

Richard

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com



On Dec 20, 2008, at 11:00 PM, William Walker wrote:

> Hey!   can=92t we get back to talking about Special Sauce and Secret =20=

> Goo?  I=92m with Kevin,  and I started this thread, OK? So blog =20
> buddies what=92s your poison, I know we=92ve been over this before but =
=20
> it bears repeating, as peoples taste and gizmos change.  What =20
> distortion are you using and what do you like? Are you an overdrive =20=

> and amp distortion guy like me, does distortion  do  it for you, are =20=

> you a metal monger?  or are you a fuzz fancier, ( there should be a =20=

> periodical called Fuzz Fancy like Dog Fancy the magazine for dog =20
> lovers)  show me what you got and tell me why. I love my newest =20
> overdrive the Zendrive, as I previously stated, great at any =20
> setting ,and the Twin Tube is also very good sounding and tube =20
> driven  and a little more unruly and prone to feedback, at high =20
> settings.  I=92ve been digging the octave fuzz setting on the M-13 =20
> lately that sounds great on the lap steel ,  I can get sub octave =20
> death metal lap steel tones,  oh baby!
> Bill
>

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com






--Apple-Mail-2-282360581
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Content-Transfer-Encoding: quoted-printable

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">I'm not personally real big on =
the fuzz that makes all guitars sound the same. &nbsp;I have a Twin Tube =
too and it's GREAT for that monolithic chain saw sound. &nbsp;It's also =
good for clean country like sounds too. &nbsp;Used it almost exclusively =
for music for film for a long time but got tired of the sound. &nbsp;A =
friend gave me a HipKitty distortion box recently that's kind of nice. =
&nbsp;Hand made, cheap, hand painted so it looks sort of something made =
by a boy scout. &nbsp;But it keeps the tone of the guitar in tact. =
&nbsp;Being basically a clean tone player I haven't really pushed it =
much, but it seems more controllable and dynamic than other fuzzes I've =
tried. &nbsp;It seems to interact with the volume out of the guitar =
better than most - it's a little more like a real amp - lower volume, =
less crunch. &nbsp;Also use the Sex Drive which is really great for a =
clean, compressed, just the slightest bit of hair kind of distortion. =
&nbsp;And sustain.<div><br></div><div>I guess for me it's more about =
compression and sustain. &nbsp;And more than that, a great amp and =
guitar.&nbsp;</div><div><br></div><div>I saw Hendrix live and LOVED his =
tone. &nbsp;Small room, before he was gigantic. &nbsp;With the Soft =
Machine opening. &nbsp;Great show. &nbsp;</div><div><br></div><div>But =
the big issue for me is that so many stomp boxes are so recognizable and =
it makes for a sort of stampede of conformity. &nbsp; =
&nbsp;</div><div><br></div><div>To me, the best is a really great =
sounding guitar through a really great old tube amp just singing without =
a whole lot of Louis Armstrong gargling b-b's kind of sound. &nbsp; And =
with the collapse of the US economy, some very wonderful amps can now be =
bought pretty cheap. &nbsp;I see old tweed Fender Pro's going for way =
less than a year ago. &nbsp;And of course, my fave, the Magnatone or =
Panaramic 213 is just like walking in the holy land. &nbsp;And I'm =
falling back in love with the 1972 Marshall 50 watt head I bought a few =
years back. &nbsp;They're actually nice amps when not turned up to =
career ruining levels.</div><div><br></div><div>Also the T Rex Replica - =
the echo - has a great "Brown Tone" button on it that gives it that tone =
without all the 36" Husqvarna chain saw sound. &nbsp;ANd they're really =
cool folks.</div><div><br></div><div>I really believe a good guitarist =
can SQUEEZE the sound out of a less than perfect rig. &nbsp;I've seen it =
many times. &nbsp;You adjust your magic tricks to the size of the rabbit =
and breadth of the hat.&nbsp;</div><div><br></div><div>Haven't tried the =
Zendrive. &nbsp;Of course, the combination of the words Zen and drive is =
a bit of an oxymoron. &nbsp;But if Bill likes it, I sure =
do!</div><div><br></div><div>Now I'll have to check it =
out.</div><div><br></div><div>It's snowing - actually a blizzard here on =
the island now. &nbsp;Our well pump froze today - no water! &nbsp;Fixed =
that. &nbsp;Fixed the frozen pipes in the cottage. &nbsp;Fixed the =
frozen septic pump on my son's house. &nbsp;It exploded brown dookey all =
over my son who was trying to fix it! &nbsp;Been plowing our drive and =
our neighbor's drive - it's a Tibetan Buddhist temple - for the past =
bunch of days. &nbsp;(Long driveways) SHeesh! &nbsp;This place is =
supposed to be fairly balmy this time of year. &nbsp;But it's great =
weather for practicing guitar and getting studio work =
done.</div><div><br></div><div>Peace inside and =
out</div><div><br></div><div>Richard</div><div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">RICHARD =
SALES</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div></=
span></div><div><br></div><div><br></div><div><br><div><div>On Dec 20, =
2008, at 11:00 PM, William Walker 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: 18px; 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 lang=3D"EN-US" link=3D"blue" =
vlink=3D"purple"><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" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">Hey!&nbsp; &nbsp;can=92t we get back to talking about Special Sauce =
and Secret Goo?&nbsp; I=92m with Kevin, &nbsp;and I started this thread, =
OK? So blog buddies what=92s your poison, I know we=92ve been over this =
before but it bears repeating, as peoples taste and gizmos change. =
&nbsp;What distortion are you using and what do you like? Are you an =
overdrive and amp distortion guy like me, does distortion&nbsp; do =
&nbsp;it for you, are you a metal monger? &nbsp;or are you a fuzz =
fancier, ( there should be a periodical called Fuzz Fancy like Dog Fancy =
the magazine for dog lovers) &nbsp;show me what you got and tell me why. =
I love my newest overdrive the Zendrive, as I previously stated, great =
at any setting ,and the Twin Tube is also very good sounding and tube =
driven &nbsp;and a little more unruly and prone to feedback, at high =
settings.&nbsp; I=92ve been digging the octave fuzz setting on the M-13 =
lately that sounds great on the lap steel , &nbsp;I can get sub octave =
death metal lap steel tones, &nbsp;oh =
baby!<o:p></o:p></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"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">Bill<o:p></o:p></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"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
"><o:p>&nbsp;</o:p></span></font></div></div></div></span></blockquote></d=
iv><br><div apple-content-edited=3D"true"> <span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 09:16:31 2008
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Richard: I was also lucky enough to see Hendrix with Soft Machine and Eric
Burdon and the Animals at the Anaheim Convention Center.  Amazing, but it
suffered from the old school sound in a cavernous venue, but I was
absolutely mesmerized by Soft Machine and became an instant fan.  Wish I
could have seen it all in a smaller venue.

I've been known as a real fuzz guy and have a handful of faves. The right
Big Muff really walks somewhere between od and fuzz and gets unruly, works
really well with a wah, and does weird sub octave shifts sometimes.

I absolutely LOVE my Prescription Experience as a straight fuzz; it's an
early one. It seems to have more bottom than the Fulltone, and gets great
sub-octave weirdness as well as an interesting high octave spike (in normal,
not octave mode) that keeps me coming back. Octave mode is used
infrequently, but I use the octave/swell mode for ringmod and noise type
events. I tend to use very light od in front of it, and run the tone on the
PExp bassier, and it is super fat and grunty, especially with wah.

I had a Lovetone Big Cheese that I sorely miss. No fuzz collection is
complete without a Z Vex Fuzz Factory or Probe. I have the Probe, but have
owned the FF as well. I use it almost exclusively as a stunt fuzz and it
goes in front of everything, even the wah and I usually tame it by using od
post wah and Vexer.  I like the Boss DS1 and DS2 for plain old lyrical fat
playing.

But . . . I actually use more od than listeners might think. There are
several in my GT-5; I like the Natural and the Blues the most (I also have a
BD2); I don't currently have anything exotic around that's new and greasy,
and I'm starting to long for a new favorite. Maybe that Zen Drive is what
I'm after. I really like the Crowther Hot Cake and wish I still had one.

I also happen to have a 6v6 Alamo with 2 x 10's that needs some love and
it's a great sounding amp. I'm getting a little budget together to have it
repaired; cut down the cabinet and replace the speakers with something cool,
and use a few pedals to spice things up. Can't wait for that . . .

Love the greasy talk. Remember though: Don't hide behind those pedals and
forget yer good technique! Be proud! Be loud! -m

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Richard: I was also lucky enough to see Hendrix with Soft Machine and Eric Burdon and the Animals at the Anaheim Convention Center.&nbsp; Amazing, but it suffered from the old school sound in a cavernous venue, but I was absolutely mesmerized by Soft Machine and became an instant fan.&nbsp; Wish I could have seen it all in a smaller venue.<br>
<br>I&#39;ve been known as a real fuzz guy and have a handful of faves. The right Big Muff really walks somewhere between od and fuzz and gets unruly, works really well with a wah, and does weird sub octave shifts sometimes. <br>
<br>I absolutely LOVE my Prescription Experience as a straight fuzz; it&#39;s an early one. It seems to have more bottom than the Fulltone, and gets great sub-octave weirdness as well as an interesting high octave spike (in normal, not octave mode) that keeps me coming back. Octave mode is used infrequently, but I use the octave/swell mode for ringmod and noise type events. I tend to use very light od in front of it, and run the tone on the PExp bassier, and it is super fat and grunty, especially with wah.<br>
<br>I had a Lovetone Big Cheese that I sorely miss. No fuzz collection is complete without a Z Vex Fuzz Factory or Probe. I have the Probe, but have owned the FF as well. I use it almost exclusively as a stunt fuzz and it goes in front of everything, even the wah and I usually tame it by using od post wah and Vexer.&nbsp; I like the Boss DS1 and DS2 for plain old lyrical fat playing.<br>
<br>But . . . I actually use more od than listeners might think. There are several in my GT-5; I like the Natural and the Blues the most (I also have a BD2); I don&#39;t currently have anything exotic around that&#39;s new and greasy, and I&#39;m starting to long for a new favorite. Maybe that Zen Drive is what I&#39;m after. I really like the Crowther Hot Cake and wish I still had one.<br>
<br>I also happen to have a 6v6 Alamo with 2 x 10&#39;s that needs some love and it&#39;s a great sounding amp. I&#39;m getting a little budget together to have it repaired; cut down the cabinet and replace the speakers with something cool, and use a few pedals to spice things up. Can&#39;t wait for that . . . <br>
<br>Love the greasy talk. Remember though: Don&#39;t hide behind those pedals and forget yer good technique! Be proud! Be loud! -m<br>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 09:59:22 2008
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Subject: RE: G.P's review of KLOBUCHAR'S MYSPACE
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> Now don't go learning Samba Pa Ti unless you really twist it around. 
 
 
I would love to hear MichaelK coming up with a twisted version of this.
Speaking of which, why hasn't anyone started a Chain Tape Collective cover
version project yet?
 
 
-MichaelP
 
 

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class=3D296055709-21122008>&gt; </SPAN><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial">Now don&#8217;t go =
learning Samba Pa Ti=20
unless you really twist it around.<SPAN=20
class=3D296055709-21122008>&nbsp;</SPAN></SPAN></FONT></FONT></DIV>
<DIV dir=3Dltr align=3Dleft><FONT face=3DArial><FONT size=3D2><SPAN=20
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class=3D296055709-21122008>I=20
would love to hear MichaelK coming up with a twisted version of this. =
Speaking=20
of which, why hasn't&nbsp;anyone started a Chain Tape Collective cover =
version=20
project&nbsp;yet?</SPAN></SPAN></FONT></FONT></DIV>
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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 12:01:12 2008
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I don't know whether I'm doing something wrong, or whether I have a slight fault with my EDP (running loop4), (or even if I've found a bug), but I've come across something unexpected...

At times, when I have quantize=8th, and I press either multiply or insert (rpl or sub), the EDP 'hangs' (display shows three waiting boxes indefinitely).  If I change quantize to off or cycle or loop, everything behaves as expected. Changing quantize back to 8th brings the problem back. (btw, I have 8ths/cycle set to 8, but I've tried other values, no difference.  Also, when in the hanging state, another press of the same button does resolve things of course).

This seems to be happening during and following use of a preset where I have 'tempo select' turned on.  However, if I then go to another preset (ie, one that doesn't use tempo select, the problem persists.  What's really weird is that if I then power down the EDP and then turn it back on again, the problem is sorted (until I next go to my 'tempo select' preset).  This seems kind of odd, because, I think, all current settings are retained in memory (? in preset 0), and recalled after powering off and on, but in my case it seems that a rogue issue is being rectified (thankfully).

Any ideas why this is happening?  I don't know if any of my other settings are causing this.

Stephen Scott



      

From bfreed@enter.net  Sun Dec 21 13:07:49 2008
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Dear Friend,

I am Mr. Shu F Yang I work with bank sino pac in Taiwan, I
have a business transaction to share with you of my partner
Mrs Lui if interested get back to me via my personal e-mail
shuyangtw@hotmail.com for more details.

Sincerely,
Mr. Yang

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 14:19:32 2008
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Stephen Scott wrote:
> I don't know whether I'm doing something wrong, or whether I have a slight fault with my EDP (running loop4), (or even if I've found a bug), but I've come across something unexpected...
> 
> At times, when I have quantize=8th, and I press either multiply or insert (rpl or sub), the EDP 'hangs' (display shows three waiting boxes indefinitely).  If I change quantize to off or cycle or loop, everything behaves as expected. Changing quantize back to 8th brings the problem back. (btw, I have 8ths/cycle set to 8, but I've tried other values, no difference.  Also, when in the hanging state, another press of the same button does resolve things of course).
> 
> This seems to be happening during and following use of a preset where I have 'tempo select' turned on.  However, if I then go to another preset (ie, one that doesn't use tempo select, the problem persists.  What's really weird is that if I then power down the EDP and then turn it back on again, the problem is sorted (until I next go to my 'tempo select' preset).  This seems kind of odd, because, I think, all current settings are retained in memory (? in preset 0), and recalled after powering off and on,

yep, that's right.
However, it seems that tempo select isn't saved to preset 0

hmm,
just wait while I look up how to save a preset ;-)


> but in my case it seems that a rogue issue is being rectified (thankfully).
> 
> Any ideas why this is happening? 

Well, I wouldn't be surprised if there was a bug.
That behaviour is what happens if you use quantize and
use Subst of Replace by direct Midi. ( if you release the
press while the ooo shows ).
...but you're using the Insert to do replace.

However, following what you say here I didn't reproduce the behaviour.

Possibly having Sync=In would have something to do with this,
but I'm only guessing here. If you were sending midi-clock to the edp
it would mess with the 8th Quant behaviour.



> I don't know if any of my other settings are causing this.

If you're keen to get to the bottom of this then
a list of any non-default settings would help me to exactly duplicate
what you did to get the result.
...and also an exact list of all actions after boot-up

....Because I'm clueless about this so far

andy





> 
> Stephen Scott

note to Matt....told you Stephen was a good tester :-)

> 
> 
> 
>       
> 
> 

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 14:38:07 2008
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Date: Sun, 21 Dec 2008 15:38:05 +0100
From: "Per Boysen" <perboysen@gmail.com>
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Subject: Fresh bass looping video with Steve Lawson
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Hi,

Just passing this url I snagged on Twitters:
http://www.livingroomsessions.com/. Right now a live recording of
Steve and Lobelia is up. Steve uses a Looperlative 1 for looping.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 15:37:20 2008
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Date: Sun, 21 Dec 2008 10:37:14 EST
Subject: the amazing kloby versus santana.....was the GP/KLOBUCHAR thang
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what's funny, is the fact that my #1 son told me many years ago that i 
sounded like santana.....yikes!.....thus began my bitrman/ineko dreams.....i know i 
should have listened to santana's sage (read, pot) advice but i guess when i 
was visited by some sacred loopanarys in the way back, my mind was befuddled 
and i lost sight of the true guitar ideal......well, it's been a day since my 
review showed up at my door, like another plague befalling egypt, and i have 
ridden the 
rolli-coaster of doubt.....i am a musical genius.....my tubes should be tied 
and my children should change their last names.....play on or hit erase.....i 
swore, yesterday, to never play guitar again but thanks to all my loopkindern 
and their wonderful support.....i'm back!.....did ya miss 
me?.....:).....FYI.....if you want GP to review your myspace (for all you non GP readers out 
there, if there is such a thing!) just become "friends " with michael molenda 
(editor).....www.myspace.com/michaelmolenda.....NEWS FLASH! , the things we learn 
by reading the entire article, in addition to my tea-shirt, strings and picks 
(customized, thank you very much!), i just read that "your two best mp3s will 
be added to the playlist of EB radio, ernieball.com " ......i'm really curious 
to see what my 2 best mp3's are.....the soup thickens!.....:)m


".....and it isn't hypnotic, EITHER.".....michael molenda

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025)

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<HTML><FONT FACE=3Darial,helvetica><HTML><FONT COLOR=3D"#000000" FACE=3D"Gen=
eva" FAMILY=3D"SANSSERIF" SIZE=3D"2">what's funny, is the fact that my #1 so=
n told me many years ago that i sounded like santana.....yikes!.....thus beg=
an my bitrman/ineko dreams.....i know i should have listened to santana's sa=
ge (read, pot) advice but i guess when i was visited by some sacred loopanar=
ys in the way back, my mind was befuddled and i lost sight of the true guita=
r ideal......well, it's been a day since my review showed up at my door, lik=
e another plague befalling egypt, and i have ridden the <BR>
rolli-coaster of doubt.....i am a musical genius.....my tubes should be tied=
 and my children should change their last names.....play on or hit erase....=
.i swore, yesterday, to never play guitar again but thanks to all my loopkin=
dern and their wonderful support.....i'm back!.....did ya miss me?.....:)...=
..FYI.....if you want GP to review your myspace (for all you non GP readers=20=
out there, if there is such a thing!) just become "friends " with michael mo=
lenda (editor).....www.myspace.com/michaelmolenda.....NEWS FLASH! , the thin=
gs we learn by reading the entire article, in addition to my tea-shirt, stri=
ngs and picks (customized, thank you very much!), i just read that "your two=
 best mp3s will be added to the playlist of EB radio, ernieball.com " ......=
i'm really curious to see what my 2 best mp3's are.....the soup thickens!...=
..:)m<BR>
<BR>
<BR>
".....and it isn't hypnotic, EITHER.".....michael molenda<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all=20=
your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (http://www.aol.com=
/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)<=
/HTML>

--part1_d53.3c609af8.367fbcaa_boundary--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 16:03:55 2008
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Subject: Re: G.P's review of KLOBUCHAR'S MYSPACE
From: Richard Atkinson <thetoyroom@charter.net>
To: Looper's Delight <Loopers-Delight@loopers-delight.com>
Message-ID: <C573A8E5.50E6%thetoyroom@charter.net>
Thread-Topic: G.P's review of KLOBUCHAR'S MYSPACE
Thread-Index: AcljPcsmVnOdyGHaTvi12TETS10jVgAR+q6g
In-Reply-To: <F20654DE34C04FE1BE592600CD30DD09@williamsteed>
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Does this mean that Mr. Walker is now officially known as =8CBilly Bob=B9
Walker?  If so, I like it!


On 12/20/08 11:29 PM, "William Walker" <billwalker@baymoon.com> wrote:

> Hey Michael, a tepid review by a guy with conventional taste in guitar, a=
nd
> perhaps an addiction to the thrill of stunt guitar weedly, weeedly, the
> players he usually features would give evidence to that, is a Good Thing!
> It=B9s a call to arms, by someone trying to critique what you do based on
> conventional notions of form.  He obviously hasn=B9t been spinning any Henr=
y
> Kaiser, or Fred Frith platters lately I would venture to guess. I read a =
great
> interview with guitarist Earl Slick one time, and he was talking about hi=
s
> tenure with John Lennon (lucky bastard) and Yoko Ono in specific.  He sai=
d
> something to the effect that most people simply don=B9t get abstract music,=
 it
> makes them uncomfortable and even scares them, and in a way Yoko=B9s music =
was
> savaged because people were judging it in the context of John Lennon=B9s wo=
rk
> which was absurd. He went on to praise Yoko both for her creativity and h=
er
> character.  Scoots, the guitar world needs more nuts of your variety in t=
he
> great guitar nut bowl. Now don=B9t go learning Samba Pa Ti unless you reall=
y
> twist it around.
> Billy Bob Walker
> =20
>=20



--B_3312691430_5416437
Content-type: text/html;
	charset="ISO-8859-1"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>Re: G.P's review of KLOBUCHAR'S MYSPACE</TITLE>
</HEAD>
<BODY>
<FONT FACE=3D"Verdana, Helvetica, Arial"><SPAN STYLE=3D'font-size:12.0px'>Does =
this mean that Mr. Walker is now officially known as &#8216;Billy Bob&#8217;=
 Walker? &nbsp;If so, I like it!<BR>
<BR>
<BR>
On 12/20/08 11:29 PM, &quot;William Walker&quot; &lt;billwalker@baymoon.com=
&gt; wrote:<BR>
<BR>
</SPAN></FONT><BLOCKQUOTE><FONT SIZE=3D"4"><FONT FACE=3D"Arial"><SPAN STYLE=3D'fo=
nt-size:13.0px'>Hey Michael, a tepid review by a guy with conventional taste=
 in guitar, and perhaps an addiction to the thrill of stunt guitar weedly, w=
eeedly, the players he usually features would give evidence to that, is a Go=
od Thing! &nbsp;It&#8217;s a call to arms, by someone trying to critique wha=
t you do based on conventional notions of form. &nbsp;He obviously hasn&#821=
7;t been spinning any Henry Kaiser, or Fred Frith platters lately I would ve=
nture to guess. I read a great interview with guitarist Earl Slick one time,=
 and he was talking about his tenure with John Lennon (lucky bastard) and Yo=
ko Ono in specific. &nbsp;He said something to the effect that most people s=
imply don&#8217;t get abstract music, it makes them uncomfortable and even s=
cares them, and in a way Yoko&#8217;s music was savaged because people were =
judging it in the context of John Lennon&#8217;s work which was absurd. He w=
ent on to praise Yoko both for her creativity and her character. &nbsp;Scoot=
s, the guitar world needs more nuts of your variety in the great guitar nut =
bowl. Now don&#8217;t go learning Samba Pa Ti unless you really twist it aro=
und.<BR>
Billy Bob Walker<BR>
&nbsp;<BR>
</SPAN></FONT></FONT><FONT FACE=3D"Verdana, Helvetica, Arial"><SPAN STYLE=3D'fo=
nt-size:12.0px'><BR>
</SPAN></FONT></BLOCKQUOTE><FONT FACE=3D"Verdana, Helvetica, Arial"><SPAN STY=
LE=3D'font-size:12.0px'><BR>
</SPAN></FONT>
</BODY>
</HTML>


--B_3312691430_5416437--


From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 16:35:26 2008
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Subject: DISAGREEMENTS and THIS LIST    was:     Re: distortion, overdrive,fuzz,crunc
 
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Periodically, over the years on this list,  people get upset with each 
other about
things they've posted, or the the style with which they post.

I've been on both sides of this phenomena:     I've had my feelings 
hurt, or been pissed off about
something someone has written, and I've written things that people have 
objected to.

That said and done,   I feel compelled to respond to the current 
controversy in the
fuzz, distortion thread in particular and to make a point that I think 
should be made about it all.

Viz a vis MikoB's critical post about Krispen Hartungs' style of posting, 
I'd like to point out that  Krispen,  who was a philosophy major (or 
minor) in college, is
engaging in a time honored intellectual tradition of discourse called 
the Socratic Method

from wikipedia:
The *Socratic Method* (or *Method of Elenchus* or *Socratic Debate*), 
named after the Classical Greek </wiki/Classical_Greece>
philosopher </wiki/Philosophy> Socrates </wiki/Socrates>, is a form of 
philosophical </wiki/Philosophy> inquiry in which the questioner 
explores the implications
of others' positions, to stimulate rational thinking and illuminate 
ideas.^[1] <#cite_note-0> This dialectical </wiki/Dialectical> method 
often involves
an oppositional discussion in which the defense of one point of view is 
pitted against another; one participant
may lead another to contradict himself in some way, strengthening the 
inquirer's own point.

Kris has caused EXACTLY what he frequently sets out to do:     Get a big 
reaction;   Stimulate a discussion;
Get the intellectual and aethetic and emotional juices going.

This method, however, is oppositional in nature and it can be vexing at 
times, depending on my own capricious moods.

My father used to be a devil's advocate and it just drove me up the wall 
at times, but it also really
sharpened my intellect and my ability to articulate my thoughts in 
conversation and in public forum.    
I thank him every day for it and the style still occasionally pisses me off.

Unlike my father, however,   this is a daily list and I can turn off 
Krispen Hartung (or Miko B) at will by merely
not reading their posts.     Any email browser allows anyone to set up 
posting filters...............out of sight , out of mind.
The daily digest list who posts what.              If I"m sick of a 
discussion or just don't have the bandwidth on a particular
day for someone who is a voluminous poster,   I just DON'T READ their posts.

Personally,  I have taken exception with a few of Kris' contentions
Personally,  it makes me sad to read Miko's slagging Krispen's postding 
style of posting and  how this list has been going lately.
Personally,  I've really dug this list a lot lately, precisely because 
we are talking about things that we all obviously
give a shit about and are not afraid to stir it up, occasionally.

Regardless, however:
if the little spat between Miko and Krispen goes on any longer,  I'll 
just quit reading their posts.

We are a self moderated list.................Kim purposefully set it up 
this way.

Krispen Hartung,   Miko B,   Rainer Straschill, , Michael Klobuchar,  
Travis Hartnett,  Bill Walker, Jeff Duke, Per Boysen  and
all the people who have participated in this recent past discussion are 
all really strong artists, with really strong personalities and really
strong opinions.   It's what makes them compelling   They are strong and 
they are not at all like each other.

Viva la 
difference.....................................................or, if 
you don't believe that, just self edit the posters you don't dig.

or.......................hell................................just don't 
read the list at all.




From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 16:46:37 2008
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From: "Krispen Hartung" <info@krispenhartung.com>
To: <Loopers-Delight@loopers-delight.com>
References: <494E704E.1010600@cruzio.com>
Subject: Re: DISAGREEMENTS and THIS LIST    was:     Re: distortion, overdrive,fuzz,crunc 
Date: Sun, 21 Dec 2008 09:46:33 -0700
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Wow, very well said Bill.  Occasionally, we need someone like yourself, or 
your brother, to pull us out of the depths of discussion and show us the 
larger perspective. Thanks.

Kris

p.s. you pegged me, man. Thanks for the reminder that I am indeed the 
"Gadfly", as Plato called his master, Socrates, of the looping community. :) 
Happy holidays, everyone. Enjoy the times with your friends, families, and 
loved ones.

----- Original Message ----- 


> Periodically, over the years on this list,  people get upset with each 
> other about
> things they've posted, or the the style with which they post.
>
> I've been on both sides of this phenomena:     I've had my feelings hurt, 
> or been pissed off about
> something someone has written, and I've written things that people have 
> objected to.
>
> That said and done,   I feel compelled to respond to the current 
> controversy in the
> fuzz, distortion thread in particular and to make a point that I think 
> should be made about it all.
>
> Viz a vis MikoB's critical post about Krispen Hartungs' style of posting, 
> I'd like to point out that  Krispen,  who was a philosophy major (or 
> minor) in college, is
> engaging in a time honored intellectual tradition of discourse called the 
> Socratic Method
>
> from wikipedia:
> The *Socratic Method* (or *Method of Elenchus* or *Socratic Debate*), 
> named after the Classical Greek </wiki/Classical_Greece>
> philosopher </wiki/Philosophy> Socrates </wiki/Socrates>, is a form of 
> philosophical </wiki/Philosophy> inquiry in which the questioner explores 
> the implications
> of others' positions, to stimulate rational thinking and illuminate 
> ideas.^[1] <#cite_note-0> This dialectical </wiki/Dialectical> method 
> often involves
> an oppositional discussion in which the defense of one point of view is 
> pitted against another; one participant
> may lead another to contradict himself in some way, strengthening the 
> inquirer's own point.
>
> Kris has caused EXACTLY what he frequently sets out to do:     Get a big 
> reaction;   Stimulate a discussion;
> Get the intellectual and aethetic and emotional juices going.
>
> This method, however, is oppositional in nature and it can be vexing at 
> times, depending on my own capricious moods.
>
> My father used to be a devil's advocate and it just drove me up the wall 
> at times, but it also really
> sharpened my intellect and my ability to articulate my thoughts in 
> conversation and in public forum.    I thank him every day for it and the 
> style still occasionally pisses me off.
>
> Unlike my father, however,   this is a daily list and I can turn off 
> Krispen Hartung (or Miko B) at will by merely
> not reading their posts.     Any email browser allows anyone to set up 
> posting filters...............out of sight , out of mind.
> The daily digest list who posts what.              If I"m sick of a 
> discussion or just don't have the bandwidth on a particular
> day for someone who is a voluminous poster,   I just DON'T READ their 
> posts.
>
> Personally,  I have taken exception with a few of Kris' contentions
> Personally,  it makes me sad to read Miko's slagging Krispen's postding 
> style of posting and  how this list has been going lately.
> Personally,  I've really dug this list a lot lately, precisely because we 
> are talking about things that we all obviously
> give a shit about and are not afraid to stir it up, occasionally.
>
> Regardless, however:
> if the little spat between Miko and Krispen goes on any longer,  I'll just 
> quit reading their posts.
>
> We are a self moderated list.................Kim purposefully set it up 
> this way.
>
> Krispen Hartung,   Miko B,   Rainer Straschill, , Michael Klobuchar, 
> Travis Hartnett,  Bill Walker, Jeff Duke, Per Boysen  and
> all the people who have participated in this recent past discussion are 
> all really strong artists, with really strong personalities and really
> strong opinions.   It's what makes them compelling   They are strong and 
> they are not at all like each other.
>
> Viva la difference.....................................................or, 
> if you don't believe that, just self edit the posters you don't dig.
>
> or.......................hell................................just don't 
> read the list at all.
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 16:47:32 2008
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Date: Sun, 21 Dec 2008 08:47:26 -0800
Subject: Re: the era of looping fish?
From: Richard Atkinson <thetoyroom@charter.net>
To: Looper's Delight <Loopers-Delight@loopers-delight.com>
Message-ID: <C573B31E.50E9%thetoyroom@charter.net>
Thread-Topic: the era of looping fish?
Thread-Index: Aclji827DC549c9/Ed2NIwAWy4YwYQ==
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Thanks for that link. Cool stuff.


On 12/20/08 8:46 PM, "mike@michaelplishka.com" <mike@michaelplishka.com>
wrote:

> Did you ever see this stuff?
>  
> http://zenstorming.posterous.com/video-and-article-scientists-t
>>  
> 



--B_3312694047_5593619
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	charset="US-ASCII"
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<HTML>
<HEAD>
<TITLE>Re: the era of looping fish?</TITLE>
</HEAD>
<BODY>
<FONT FACE=3D"Verdana, Helvetica, Arial"><SPAN STYLE=3D'font-size:12.0px'>Thank=
s for that link. Cool stuff.<BR>
<BR>
<BR>
On 12/20/08 8:46 PM, &quot;mike@michaelplishka.com&quot; &lt;mike@michaelpl=
ishka.com&gt; wrote:<BR>
<BR>
</SPAN></FONT><BLOCKQUOTE><SPAN STYLE=3D'font-size:12.0px'><FONT FACE=3D"Arial"=
>Did you ever see this stuff?<BR>
</FONT><FONT FACE=3D"Verdana, Helvetica, Arial"> <BR>
</FONT><FONT FACE=3D"Arial"><a href=3D"http://zenstorming.posterous.com/video-a=
nd-article-scientists-t">http://zenstorming.posterous.com/video-and-article-=
scientists-t</a><BR>
</FONT></SPAN><BLOCKQUOTE><SPAN STYLE=3D'font-size:12.0px'><FONT FACE=3D"Verdan=
a, Helvetica, Arial"> <BR>
</FONT></SPAN></BLOCKQUOTE><SPAN STYLE=3D'font-size:12.0px'><FONT FACE=3D"Verda=
na, Helvetica, Arial"><BR>
</FONT></SPAN></BLOCKQUOTE><SPAN STYLE=3D'font-size:12.0px'><FONT FACE=3D"Verda=
na, Helvetica, Arial"><BR>
</FONT></SPAN>
</BODY>
</HTML>


--B_3312694047_5593619--


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Date: Sun, 21 Dec 2008 08:48:42 -0800 (PST)
From: Stephen Scott <stevoj@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: Another EDP question
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Thanks for taking the time and trouble to look into this Andy.

Problem solved (I think).  Tempo Select requires that sync=Out or OuS.  I had mine set to Out.  So, I changed it to OuS.  

But the effect on my 8th note quant problem wasn't immediately obvious; I then had to save my new preset, power down, then power up again.  Now all seems well.  

I didn't change any other parameters, so I suppose this must have been the culprit.

You're right then, always worth checking the non-standard settings first.

btw, in your answer to my previous question you suggested playing around with SwitchQuant=CCY.  Thanks for bringing this powerful tool to my attention!  The ability to choose between various functions when going into a new loop is fantastic.  

Stephen


--- On Sun, 12/21/08, andy butler <akbutler@tiscali.co.uk> wrote:

> From: andy butler <akbutler@tiscali.co.uk>
> Subject: Re: Another EDP question
> To: Loopers-Delight@loopers-delight.com, "Matthias Grob" <matigrob@gmail.com>
> Date: Sunday, December 21, 2008, 2:24 PM
> Stephen Scott wrote:
> > I don't know whether I'm doing something
> wrong, or whether I have a slight fault with my EDP (running
> loop4), (or even if I've found a bug), but I've come
> across something unexpected...
> > 
> > At times, when I have quantize=8th, and I press either
> multiply or insert (rpl or sub), the EDP 'hangs'
> (display shows three waiting boxes indefinitely).  If I
> change quantize to off or cycle or loop, everything behaves
> as expected. Changing quantize back to 8th brings the
> problem back. (btw, I have 8ths/cycle set to 8, but I've
> tried other values, no difference.  Also, when in the
> hanging state, another press of the same button does resolve
> things of course).
> > 
> > This seems to be happening during and following use of
> a preset where I have 'tempo select' turned on. 
> However, if I then go to another preset (ie, one that
> doesn't use tempo select, the problem persists. 
> What's really weird is that if I then power down the EDP
> and then turn it back on again, the problem is sorted (until
> I next go to my 'tempo select' preset).  This seems
> kind of odd, because, I think, all current settings are
> retained in memory (? in preset 0), and recalled after
> powering off and on,
> 
> yep, that's right.
> However, it seems that tempo select isn't saved to
> preset 0
> 
> hmm,
> just wait while I look up how to save a preset ;-)
> 
> 
> > but in my case it seems that a rogue issue is being
> rectified (thankfully).
> > 
> > Any ideas why this is happening? 
> 
> Well, I wouldn't be surprised if there was a bug.
> That behaviour is what happens if you use quantize and
> use Subst of Replace by direct Midi. ( if you release the
> press while the ooo shows ).
> ...but you're using the Insert to do replace.
> 
> However, following what you say here I didn't reproduce
> the behaviour.
> 
> Possibly having Sync=In would have something to do with
> this,
> but I'm only guessing here. If you were sending
> midi-clock to the edp
> it would mess with the 8th Quant behaviour.
> 
> 
> 
> > I don't know if any of my other settings are
> causing this.
> 
> If you're keen to get to the bottom of this then
> a list of any non-default settings would help me to exactly
> duplicate
> what you did to get the result.
> ...and also an exact list of all actions after boot-up
> 
> ....Because I'm clueless about this so far
> 
> andy
> 
> 
> 
> 
> 
> > 
> > Stephen Scott
> 
> note to Matt....told you Stephen was a good tester :-)
> 
> > 
> > 
> > 
> >       
> >


      

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To: <Loopers-Delight@loopers-delight.com>
References: <94CE7D1143AB408A924D533F7391406B@williamsteed>
Subject: Re: special sauce, secret goo
Date: Sun, 21 Dec 2008 11:57:08 -0500
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First, sorry Bill, I sent this to you personaly again by mistake .I must =
remember to check the reply to!=20

My current set up is like this. Fernandes sustainor guitar-BBE =
Optistomp-EB jr volume-Digi synthwah(mean mutha!)-digi Bad Monkey(very =
nice overdrive)-Digi RP250(twin model for clean-Mark 2 C model for =
crunch, add Muff model or PI model for distortion/fuzz), the 250 is not =
my ideal way to go but it's cheap and pretty good with a great =
wah/whammy. Coming soon! ups delivery is the Zvex Fuzz Factory! The =
Vexter model was just cheap enough sans custom paint for me to bite the =
bullet. Sorry to all my friends that won't be getting gifts from me now. =

then Digi Hardwire Reverb-DL4-DD 20-EH 2880-----into mixer, then =
computer/headphones or Behringer keyboard amp. My favorite fuzz sounds =
seem to come from germanium transisters or their models.
That said back in the 'day" I played in a 9 pc band with horns and the =
only way to cut throgh was guitar-crybaby-maybe tube screamer or Rat =
into a Marshal JCM 900 50w. I think a good tube amp is the best sounding =
distortion I have ever used. Amp models (that I have used/IMO!) just =
aren't the same. It's just not feasible for me now to go that route for =
alot of reasons right now. Like lotsa cash! And I don't play out....for =
now.

peace to all,

Jeff


Ad astra per alia porci - Steinbeck
(To the stars on the wings of a pig.)

http://www.thisphase.org/jeffdukedotorg.html
http://www.myspace.com/loopsinphasespace
http://www.vimeo.com/jeffduke
http://www.youtube.com/user/sticky899
http://www.sugarat.org/tecbab/
  ----- Original Message -----=20
  From: William Walker=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Sunday, December 21, 2008 2:00 AM
  Subject: special sauce, secret goo


  Hey!   can't we get back to talking about Special Sauce and Secret =
Goo?  I'm with Kevin,  and I started this thread, OK? So blog buddies =
what's your poison, I know we've been over this before but it bears =
repeating, as peoples taste and gizmos change.  What distortion are you =
using and what do you like? Are you an overdrive and amp distortion guy =
like me, does distortion  do  it for you, are you a metal monger?  or =
are you a fuzz fancier, ( there should be a periodical called Fuzz Fancy =
like Dog Fancy the magazine for dog lovers)  show me what you got and =
tell me why. I love my newest overdrive the Zendrive, as I previously =
stated, great at any setting ,and the Twin Tube is also very good =
sounding and tube driven  and a little more unruly and prone to =
feedback, at high settings.  I've been digging the octave fuzz setting =
on the M-13 lately that sounds great on the lap steel ,  I can get sub =
octave death metal lap steel tones,  oh baby!

  Bill

  =20



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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
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12/20/2008 2:34 PM

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</HEAD>
<BODY lang=3DEN-US vLink=3Dpurple link=3Dblue bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>First, sorry Bill, I sent this to you =
personaly=20
again by mistake .I must remember to check the reply to! </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>
<DIV><FONT face=3DArial size=3D2>My current set up is like this. =
Fernandes sustainor=20
guitar-BBE Optistomp-EB jr volume-Digi synthwah(mean mutha!)-digi Bad=20
Monkey(very nice overdrive)-Digi RP250(twin model for clean-Mark 2 C =
model for=20
crunch, add Muff model or PI model for distortion/fuzz), the 250 is not =
my ideal=20
way to go but it's cheap and pretty good with a great wah/whammy. Coming =
soon!=20
ups delivery is the Zvex Fuzz Factory! The Vexter model was just cheap =
enough=20
sans custom paint for me to bite the bullet. Sorry to all my friends =
that won't=20
be getting gifts from me now. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2>then Digi Hardwire Reverb-DL4-DD 20-EH=20
2880-----into mixer, then computer/headphones or Behringer&nbsp;keyboard =
amp. My=20
favorite fuzz sounds seem to come from germanium transisters or their=20
models.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>That said back in the 'day" I played in =
a 9 pc band=20
with horns and the only way to cut throgh was guitar-crybaby-maybe tube =
screamer=20
or Rat into a Marshal JCM 900 50w. I think a good tube amp is the best =
sounding=20
distortion I have ever used. Amp models (that I have used/IMO!) just =
aren't the=20
same. It's just not feasible for me now to go that route for alot of =
reasons=20
right now. Like lotsa cash! And I don't play out....for =
now.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>peace to all,</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><BR>Ad astra per alia porci - =
Steinbeck<BR>(To the=20
stars on the wings of a pig.)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.thisphase.org/jeffdukedotorg.html">http://www.thisphas=
e.org/jeffdukedotorg.html</A><BR><A=20
href=3D"http://www.myspace.com/loopsinphasespace">http://www.myspace.com/=
loopsinphasespace</A><BR><A=20
href=3D"http://www.vimeo.com/jeffduke">http://www.vimeo.com/jeffduke</A><=
BR><A=20
href=3D"http://www.youtube.com/user/sticky899">http://www.youtube.com/use=
r/sticky899</A><BR><A=20
href=3D"http://www.sugarat.org/tecbab/">http://www.sugarat.org/tecbab/</A=
></FONT></DIV></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=3Dbillwalker@baymoon.com =
href=3D"mailto:billwalker@baymoon.com">William=20
  Walker</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, December 21, 2008 =
2:00=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> special sauce, secret =
goo</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">Hey!&nbsp; &nbsp;can=92t =
we get back=20
  to talking about Special Sauce and Secret Goo?&nbsp; I=92m with Kevin, =
&nbsp;and=20
  I started this thread, OK? So blog buddies what=92s your poison, I =
know we=92ve=20
  been over this before but it bears repeating, as peoples taste and =
gizmos=20
  change. &nbsp;What distortion are you using and what do you like? Are =
you an=20
  overdrive and amp distortion guy like me, does distortion&nbsp; do =
&nbsp;it=20
  for you, are you a metal monger? &nbsp;or are you a fuzz fancier, ( =
there=20
  should be a periodical called Fuzz Fancy like Dog Fancy the magazine =
for dog=20
  lovers) &nbsp;show me what you got and tell me why. I love my newest =
overdrive=20
  the Zendrive, as I previously stated, great at any setting ,and the =
Twin Tube=20
  is also very good sounding and tube driven &nbsp;and a little more =
unruly and=20
  prone to feedback, at high settings.&nbsp; I=92ve been digging the =
octave fuzz=20
  setting on the M-13 lately that sounds great on the lap steel , =
&nbsp;I can=20
  get sub octave death metal lap steel tones, &nbsp;oh=20
  baby!<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">Bill<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></DIV>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.9.19/1859 -=20
  Release Date: 12/20/2008 2:34 PM<BR></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 17:20:23 2008
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Date: Sun, 21 Dec 2008 09:20:24 -0800
From: Rick Walker <looppool@cruzio.com>
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I really liked your post on your fuzz effects, Miko!

I"ve been a very big fan of your guitar playing for a long time.

I have to say that many, many years ago (probably at least 20)  I 
remember sitting outside of
a show that you were playing (because your volumes were always a little 
loud for my ears)
and just fucking relishing the sound that you had going:

It was louder than fucking God and it was nasty and sexy and lyrical all 
the same.
Even outside of the venue (I was always afraid that you would notice 
that I wasn't inside)
it sounded huge and incredible.

Come to think of it,  three of my favorite guitar listening experiences 
were experienced standing outside
of a venue, because (1) it was too loud for my ears or (2)  I couldn't 
get in

That day you played (1).     Stan-o-saur's Y2K7 performance (1)     and 
Jimi Hendrix
at the Northern California Rock Festival in San Jose (2)

I've always thought of you as one of the guitarists who got the very 
best sound out of your pedals,
so , since I'm a fuzz newbie myself  (Stan-0-saur gave me my first gift 
of a red Dunlop Fuzz Face
to start me off in this pedal addiction I find myself in currently),  it 
was really cool to
hear what you have used.

I did a noise show recently with my friend Tait-O, from Tokyo's Noise 
Clinic and
had incredible sounds coming out of a ZVEX fuzz factory and your 
aforementioned
PRESCRIPTION experience.        I was thinking about springing for one
(ooooh, they are pricey) before you posted this, but I think hearing 
that you used to
use one is going to push me over the top.

The other fantastic distorted sound that I heard recently was Scout 
Nibblet, the british
indie singer songwriter (who is really simplistic, minimalistic and cool 
imho) playing live.

She had a POG and a Big Muff and a Fender styled guitar (I think a Jazz 
Master but am
not sure) and that's all.

If you can describe distortion as having chunks of sound (and fuzz 
having much, much smaller grains)
she had gigantic chunks of sound that were not always uniform.
It was huge and terrifying and dangerous and anarchic 
sounding..................a whole universe in a sound

It just turned me on to hear here play.

Thanks for the post.

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 17:25:51 2008
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        <Loopers-Delight@loopers-delight.com>
References: <BLU0-SMTP35F7CFA00ED09011FCAC31DCEE0@phx.gbl>
Subject: RE: DISAGREEMENTS and THIS LIST    was:     Re: distortion, overdrive,fuzz,crunc 
Date: Sun, 21 Dec 2008 09:25:47 -0800
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Uh that would have been Rick's comments, not mine, I'm more likely to break
out in song, specifically the War classic...

"Why can't we be friends Why can't we be friends Why can't we be friends 
Bill

-----Original Message-----
From: Krispen Hartung [mailto:info@krispenhartung.com] 
Sent: Sunday, December 21, 2008 8:47 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion,
overdrive,fuzz,crunc 

Wow, very well said Bill.  Occasionally, we need someone like yourself, or 
your brother, to pull us out of the depths of discussion and show us the 
larger perspective. Thanks.

Kris

p.s. you pegged me, man. Thanks for the reminder that I am indeed the 
"Gadfly", as Plato called his master, Socrates, of the looping community. :)

Happy holidays, everyone. Enjoy the times with your friends, families, and 
loved ones.

----- Original Message ----- 


> Periodically, over the years on this list,  people get upset with each 
> other about
> things they've posted, or the the style with which they post.
>
> I've been on both sides of this phenomena:     I've had my feelings hurt, 
> or been pissed off about
> something someone has written, and I've written things that people have 
> objected to.
>
> That said and done,   I feel compelled to respond to the current 
> controversy in the
> fuzz, distortion thread in particular and to make a point that I think 
> should be made about it all.
>
> Viz a vis MikoB's critical post about Krispen Hartungs' style of posting, 
> I'd like to point out that  Krispen,  who was a philosophy major (or 
> minor) in college, is
> engaging in a time honored intellectual tradition of discourse called the 
> Socratic Method
>
> from wikipedia:
> The *Socratic Method* (or *Method of Elenchus* or *Socratic Debate*), 
> named after the Classical Greek </wiki/Classical_Greece>
> philosopher </wiki/Philosophy> Socrates </wiki/Socrates>, is a form of 
> philosophical </wiki/Philosophy> inquiry in which the questioner explores 
> the implications
> of others' positions, to stimulate rational thinking and illuminate 
> ideas.^[1] <#cite_note-0> This dialectical </wiki/Dialectical> method 
> often involves
> an oppositional discussion in which the defense of one point of view is 
> pitted against another; one participant
> may lead another to contradict himself in some way, strengthening the 
> inquirer's own point.
>
> Kris has caused EXACTLY what he frequently sets out to do:     Get a big 
> reaction;   Stimulate a discussion;
> Get the intellectual and aethetic and emotional juices going.
>
> This method, however, is oppositional in nature and it can be vexing at 
> times, depending on my own capricious moods.
>
> My father used to be a devil's advocate and it just drove me up the wall 
> at times, but it also really
> sharpened my intellect and my ability to articulate my thoughts in 
> conversation and in public forum.    I thank him every day for it and the 
> style still occasionally pisses me off.
>
> Unlike my father, however,   this is a daily list and I can turn off 
> Krispen Hartung (or Miko B) at will by merely
> not reading their posts.     Any email browser allows anyone to set up 
> posting filters...............out of sight , out of mind.
> The daily digest list who posts what.              If I"m sick of a 
> discussion or just don't have the bandwidth on a particular
> day for someone who is a voluminous poster,   I just DON'T READ their 
> posts.
>
> Personally,  I have taken exception with a few of Kris' contentions
> Personally,  it makes me sad to read Miko's slagging Krispen's postding 
> style of posting and  how this list has been going lately.
> Personally,  I've really dug this list a lot lately, precisely because we 
> are talking about things that we all obviously
> give a shit about and are not afraid to stir it up, occasionally.
>
> Regardless, however:
> if the little spat between Miko and Krispen goes on any longer,  I'll just

> quit reading their posts.
>
> We are a self moderated list.................Kim purposefully set it up 
> this way.
>
> Krispen Hartung,   Miko B,   Rainer Straschill, , Michael Klobuchar, 
> Travis Hartnett,  Bill Walker, Jeff Duke, Per Boysen  and
> all the people who have participated in this recent past discussion are 
> all really strong artists, with really strong personalities and really
> strong opinions.   It's what makes them compelling   They are strong and 
> they are not at all like each other.
>
> Viva la difference.....................................................or,

> if you don't believe that, just self edit the posters you don't dig.
>
> or.......................hell................................just don't 
> read the list at all.
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 17:34:55 2008
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Krispen wrote:
"Wow, very well said Bill.  Occasionally, we need someone like yourself, 
or your brother,
to pull us out of the depths of discussion and show us the larger 
perspective." 


Errrrr,   it actually WAS Bill's brother (they call me Rick <wink>)  who 
wrote that post.............

.....not to take a single thing away from my illustrious and talented 
brother.



and Merry Christmas to you,  your lovely wife and kids!
I can't wait for the Boise Experimental Music Festival, by the way
<probably a festival that could really benefit from a Miko B performance
he says,  stirring the pot with a wink>

love,  Rick


From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 17:46:07 2008
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Re:
Molenda's review of Klobuchar's myspace:
One thing to look at is that I've noticed time and time again how 
Molenda basically will take someones entire
musical life and put it down to a little caption in the rag.  I've seem 
people underserving of his ire get it and
some others are being compared to musical geniuses who maybe didn't 
deserve that kind of praise. 

He doesn't realize that some people have been at this 20 years or even 
more, so to just assign a glib
caption to it and walk away (which I suppose is his job actually) 
doesn't do the artist a service.  Even
Mike Varney's shred column had more attention paid to the type of music 
and playing the people who
submitted tapes did.

I think he was too hard on Klobuchar because Molenda's tone was more of 
"I'm trying to be cool so the
readers can nod in agreement with my sage advice."

Oh well.  He's totally ignored both my own myspace despite sending him 
the links well over a year ago,
I think if I were to have gotten that response I'd just have to grow a 
thicker skin and keep on doing what I
normally do rather than let him 'stop me' doing what my particular 
artistic sense says to do.

-t


>>>
>>>
>
>
>      
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 18:01:31 2008
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Subject: Re: DISAGREEMENTS and THIS LIST    was:     Re: distortion, overdrive,fuzz,crunc 
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Crap, how did I do that? Sorry Bill....sorry Rick.  That makes even more 
sense.

Kris

----- Original Message ----- 

> Uh that would have been Rick's comments, not mine, I'm more likely to 
> break
> out in song, specifically the War classic...
>
> "Why can't we be friends Why can't we be friends Why can't we be friends
> Bill
>
> -----Original Message-----
> From: Krispen Hartung [mailto:info@krispenhartung.com]
> Sent: Sunday, December 21, 2008 8:47 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion,
> overdrive,fuzz,crunc
>
> Wow, very well said Bill.  Occasionally, we need someone like yourself, or
> your brother, to pull us out of the depths of discussion and show us the
> larger perspective. Thanks.
>
> Kris
>
> p.s. you pegged me, man. Thanks for the reminder that I am indeed the
> "Gadfly", as Plato called his master, Socrates, of the looping community. 
> :)
>
> Happy holidays, everyone. Enjoy the times with your friends, families, and
> loved ones.
>
> ----- Original Message ----- 
>
>
>> Periodically, over the years on this list,  people get upset with each
>> other about
>> things they've posted, or the the style with which they post.
>>
>> I've been on both sides of this phenomena:     I've had my feelings hurt,
>> or been pissed off about
>> something someone has written, and I've written things that people have
>> objected to.
>>
>> That said and done,   I feel compelled to respond to the current
>> controversy in the
>> fuzz, distortion thread in particular and to make a point that I think
>> should be made about it all.
>>
>> Viz a vis MikoB's critical post about Krispen Hartungs' style of posting,
>> I'd like to point out that  Krispen,  who was a philosophy major (or
>> minor) in college, is
>> engaging in a time honored intellectual tradition of discourse called the
>> Socratic Method
>>
>> from wikipedia:
>> The *Socratic Method* (or *Method of Elenchus* or *Socratic Debate*),
>> named after the Classical Greek </wiki/Classical_Greece>
>> philosopher </wiki/Philosophy> Socrates </wiki/Socrates>, is a form of
>> philosophical </wiki/Philosophy> inquiry in which the questioner explores
>> the implications
>> of others' positions, to stimulate rational thinking and illuminate
>> ideas.^[1] <#cite_note-0> This dialectical </wiki/Dialectical> method
>> often involves
>> an oppositional discussion in which the defense of one point of view is
>> pitted against another; one participant
>> may lead another to contradict himself in some way, strengthening the
>> inquirer's own point.
>>
>> Kris has caused EXACTLY what he frequently sets out to do:     Get a big
>> reaction;   Stimulate a discussion;
>> Get the intellectual and aethetic and emotional juices going.
>>
>> This method, however, is oppositional in nature and it can be vexing at
>> times, depending on my own capricious moods.
>>
>> My father used to be a devil's advocate and it just drove me up the wall
>> at times, but it also really
>> sharpened my intellect and my ability to articulate my thoughts in
>> conversation and in public forum.    I thank him every day for it and the
>> style still occasionally pisses me off.
>>
>> Unlike my father, however,   this is a daily list and I can turn off
>> Krispen Hartung (or Miko B) at will by merely
>> not reading their posts.     Any email browser allows anyone to set up
>> posting filters...............out of sight , out of mind.
>> The daily digest list who posts what.              If I"m sick of a
>> discussion or just don't have the bandwidth on a particular
>> day for someone who is a voluminous poster,   I just DON'T READ their
>> posts.
>>
>> Personally,  I have taken exception with a few of Kris' contentions
>> Personally,  it makes me sad to read Miko's slagging Krispen's postding
>> style of posting and  how this list has been going lately.
>> Personally,  I've really dug this list a lot lately, precisely because we
>> are talking about things that we all obviously
>> give a shit about and are not afraid to stir it up, occasionally.
>>
>> Regardless, however:
>> if the little spat between Miko and Krispen goes on any longer,  I'll 
>> just
>
>> quit reading their posts.
>>
>> We are a self moderated list.................Kim purposefully set it up
>> this way.
>>
>> Krispen Hartung,   Miko B,   Rainer Straschill, , Michael Klobuchar,
>> Travis Hartnett,  Bill Walker, Jeff Duke, Per Boysen  and
>> all the people who have participated in this recent past discussion are
>> all really strong artists, with really strong personalities and really
>> strong opinions.   It's what makes them compelling   They are strong and
>> they are not at all like each other.
>>
>> Viva la 
>> difference.....................................................or,
>
>> if you don't believe that, just self edit the posters you don't dig.
>>
>> or.......................hell................................just don't
>> read the list at all.
>>
>>
>>
>>
>>
>
> 

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On Sun, Dec 21, 2008 at 12:20 PM, Rick Walker <looppool@cruzio.com> wrote:

I really liked your post on your fuzz effects, Miko! I"ve been a very big
> fan of your guitar playing for a long time.
>

Aw shucks . . . thanks man!


> I did a noise show recently with my friend Tait-O, from Tokyo's Noise
> Clinic and
> had incredible sounds coming out of a ZVEX fuzz factory and your
> aforementioned
> PRESCRIPTION experience.        I was thinking about springing for one
> (ooooh, they are pricey) before you posted this, but I think hearing that
> you used to
> use one is going to push me over the top.
>

Not "used to" it's still my main go-to fuzz. It's everywhere in most of my
recorded work. If you haven't popped for one yet and need a push, I could
loan you mine for a week to demo=97hear how it sounds with your other stuff
into your rig. It's more opaque and smooth with an od before it, and more
grainy and transparent and less linear without the od=97od + wha really
smoothes things out and heads towards Fripp land with a little extra hi-mid
peak. (It approximates the Lovetone Big Cheese in that mode). Then there's
the Swell mode as a noise-freak's bonus button. I couldn't live without
mine. I'm in acoustic mode right now, so I wouldn't miss it. Yeah, a Vex FF
in front of everything gives you a little chaos button that you can just
turn on and off for quick events. Through the od-wah-exp, you never even
know what happened, but things go haywire in a totally controllable, yet
unpredictable way. It's really fun and always keeps you guessing . . . Hell=
,
I'll loan you the ZV Fuzz Probe too. Give me a call if you want to check 'e=
m
both out.

The other fantastic distorted sound that I heard recently was Scout Nibblet=
,
> the british
> indie singer songwriter (who is really simplistic, minimalistic and cool
> imho) playing live. She had a POG and a Big Muff and a Fender styled guit=
ar
> (I think a Jazz Master but am
> not sure) and that's all.
>

I'm going to go demo a POG at Sylvan next week. (I had Albert go over my
acoustic and give it a setup: fret mill; nut shim; two new bridge saddles
(bone and ebony) to see what the difference might be. Pretty interesting,
but I think I'm leaning towards bone.)  Anyway, I glanced at their pedal
case and realized they've grown a pretty amazing collection of nice stuff.
Looks like a great selection of od's as well as a lot of boutique offerings=
,
so I'm heading down there for some noise making and maybe freak them out a
bit.

--=20
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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On Sun, Dec 21, 2008 at 12:20 PM, Rick Walker <span dir=3D"ltr">&lt;<a href=
=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<b=
r><br><div class=3D"gmail_quote"><blockquote class=3D"gmail_quote" style=3D=
"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padd=
ing-left: 1ex;">
I really liked your post on your fuzz effects, Miko! I&quot;ve been a very =
big fan of your guitar playing for a long time.<br>
</blockquote><div><br>Aw shucks . . . thanks man!<br>&nbsp;</div><blockquot=
e class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204);=
 margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I did a noise show recently=
 with my friend Tait-O, from Tokyo&#39;s Noise Clinic and<br>

had incredible sounds coming out of a ZVEX fuzz factory and your aforementi=
oned<br>
PRESCRIPTION experience. &nbsp; &nbsp; &nbsp; &nbsp;I was thinking about sp=
ringing for one<br>
(ooooh, they are pricey) before you posted this, but I think hearing that y=
ou used to<br>
use one is going to push me over the top.<br>
</blockquote><div>&nbsp;<br>Not &quot;used to&quot; it&#39;s still my main =
go-to fuzz. It&#39;s everywhere in most of my recorded work. If you haven&#=
39;t popped for one yet and need a push, I could loan you mine for a week t=
o demo=97hear how it sounds with your other stuff into your rig. It&#39;s m=
ore opaque and smooth with an od before it, and more grainy and transparent=
 and less linear without the od=97od + wha really smoothes things out and h=
eads towards Fripp land with a little extra hi-mid peak. (It approximates t=
he Lovetone Big Cheese in that mode). Then there&#39;s the Swell mode as a =
noise-freak&#39;s bonus button. I couldn&#39;t live without mine. I&#39;m i=
n acoustic mode right now, so I wouldn&#39;t miss it. Yeah, a Vex FF in fro=
nt of everything gives you a little chaos button that you can just turn on =
and off for quick events. Through the od-wah-exp, you never even know what =
happened, but things go haywire in a totally controllable, yet unpredictabl=
e way. It&#39;s really fun and always keeps you guessing . . . Hell, I&#39;=
ll loan you the ZV Fuzz Probe too. Give me a call if you want to check &#39=
;em both out.<br>
<br></div><blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid=
 rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
The other fantastic distorted sound that I heard recently was Scout Nibblet=
, the british<br>
indie singer songwriter (who is really simplistic, minimalistic and cool im=
ho) playing live. She had a POG and a Big Muff and a Fender styled guitar (=
I think a Jazz Master but am<br>
not sure) and that&#39;s all.<br></blockquote></div><br>I&#39;m going to go=
 demo a POG at Sylvan next week. (I had Albert go over my acoustic and give=
 it a setup: fret mill; nut shim; two new bridge saddles (bone and ebony) t=
o see what the difference might be. Pretty interesting, but I think I&#39;m=
 leaning towards bone.)&nbsp; Anyway, I glanced at their pedal case and rea=
lized they&#39;ve grown a pretty amazing collection of nice stuff.&nbsp; Lo=
oks like a great selection of od&#39;s as well as a lot of boutique offerin=
gs, so I&#39;m heading down there for some noise making and maybe freak the=
m out a bit. <br clear=3D"all">
<br>-- <br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>=
&quot;Running scared from all the usual distractions!&quot;<br>

------=_Part_41604_10375984.1229883173225--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 18:38:04 2008
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Date: Sun, 21 Dec 2008 12:37:59 -0600
From: Daryl Shawn <highhorse@mhorse.com>
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For electric playing (rare) I always like having two distortions; a Rat 
with the gain turned as close to nil as possible, just to goose a small 
tube amp (the other part of the equation). Then something that it just 
totally overwhelmingly chaotic and out of control. Smooth, creamy 
distorsh doesn't really work for me.

The Fuzz Factory is very cool, but someone mentioned Devi Ever/Effector 
13 stuff, which I've come to prefer. My FAVORITE pedals (he has a huge 
selection of pedals, all distortions, many with joysticks/photo eyes and 
other weird controllers). Completely out to lunch. I have a Truly 
Beautiful Disaster, which contains not only the crazy self-oscillating 
fuzz, but also a feedback loop for messing up other pedals, plus a photo 
eye for controlling said loop, and in addition an "Aenima" which Devi 
sold me for only $60 because it was a bit out of spec. They both 
oscillate forever when you want them to and seem to have a 
near-limitless palette of sounds, from dying-synth sputters to AM-radio 
static to solid square-wave fuzz and unpredictable octave jumps. 
Definitely the thing to reach for when you want bandmates to stare at 
you in horror/amazement, wondering if your equipment is all broken. 
Really entertaining.

love:
http://www.deviever.com/fx/

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


From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 18:43:55 2008
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Date: Sun, 21 Dec 2008 13:43:53 -0500
From: Mikkoz <biffoz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion, overdrive,fuzz,crunc
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Wow Rick, you ARE a great diplomat!

On Sun, Dec 21, 2008 at 1:01 PM, Krispen Hartung <info@krispenhartung.com>w=
rote:

> Crap, how did I do that? Sorry Bill....sorry Rick.  That makes even more
> sense.
>
> Kris
>

Ok dammit: This certainly all makes more sense now, even if I didn't
particularly enjoy it. Kevin's posting about "Where's the GOO?!" really get=
s
it for me=97I just wanted to hang with the topic and find the GOO! (Not hid=
e
behind my disto!)  Hell, Socratic-ly arguing about which GOO would have bee=
n
less tangential and more satisfying. I'll try to use Rick's useful
information as a guide. Damned philosophy classes!  They DO change your
perspective. Sorry for the disturbance.

I had no idea that's where the term "Gadfly" came from Kris. Damned S-metho=
d
does get on my nerves dude. Sorry.

>
> ----- Original Message -----
>
>> Uh that would have been Rick's comments, not mine, I'm more likely to
>> break
>> out in song, specifically the War classic... "Why can't we be friends Wh=
y
>> can't we be friends Why can't we be friends
>> Bill
>>
>> -----Original Message-----
>> From: Krispen Hartung [mailto:info@krispenhartung.com]
>> Sent: Sunday, December 21, 2008 8:47 AM
>> To: Loopers-Delight@loopers-delight.com
>> Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion,
>> overdrive,fuzz,crunc
>>
>> Wow, very well said Bill.  Occasionally, we need someone like yourself, =
or
>> your brother, to pull us out of the depths of discussion and show us the
>> larger perspective. Thanks.
>>
>> Kris
>>
>> p.s. you pegged me, man. Thanks for the reminder that I am indeed the
>> "Gadfly", as Plato called his master, Socrates, of the looping community=
.
>> :)
>>
>> Happy holidays, everyone. Enjoy the times with your friends, families, a=
nd
>> loved ones.
>>
>> ----- Original Message -----
>>
>>  Periodically, over the years on this list,  people get upset with each
>>> other about
>>> things they've posted, or the the style with which they post.
>>>
>>> I've been on both sides of this phenomena:     I've had my feelings hur=
t,
>>> or been pissed off about
>>> something someone has written, and I've written things that people have
>>> objected to.
>>>
>>> That said and done,   I feel compelled to respond to the current
>>> controversy in the
>>> fuzz, distortion thread in particular and to make a point that I think
>>> should be made about it all.
>>>
>>> Viz a vis MikoB's critical post about Krispen Hartungs' style of postin=
g,
>>> I'd like to point out that  Krispen,  who was a philosophy major (or
>>> minor) in college, is
>>> engaging in a time honored intellectual tradition of discourse called t=
he
>>> Socratic Method
>>>
>>> from wikipedia:
>>> The *Socratic Method* (or *Method of Elenchus* or *Socratic Debate*),
>>> named after the Classical Greek </wiki/Classical_Greece>
>>> philosopher </wiki/Philosophy> Socrates </wiki/Socrates>, is a form of
>>> philosophical </wiki/Philosophy> inquiry in which the questioner explor=
es
>>> the implications
>>> of others' positions, to stimulate rational thinking and illuminate
>>> ideas.^[1] <#cite_note-0> This dialectical </wiki/Dialectical> method
>>> often involves
>>> an oppositional discussion in which the defense of one point of view is
>>> pitted against another; one participant
>>> may lead another to contradict himself in some way, strengthening the
>>> inquirer's own point.
>>>
>>> Kris has caused EXACTLY what he frequently sets out to do:     Get a bi=
g
>>> reaction;   Stimulate a discussion;
>>> Get the intellectual and aethetic and emotional juices going.
>>>
>>> This method, however, is oppositional in nature and it can be vexing at
>>> times, depending on my own capricious moods.
>>>
>>> My father used to be a devil's advocate and it just drove me up the wal=
l
>>> at times, but it also really
>>> sharpened my intellect and my ability to articulate my thoughts in
>>> conversation and in public forum.    I thank him every day for it and t=
he
>>> style still occasionally pisses me off.
>>>
>>> Unlike my father, however,   this is a daily list and I can turn off
>>> Krispen Hartung (or Miko B) at will by merely
>>> not reading their posts.     Any email browser allows anyone to set up
>>> posting filters...............out of sight , out of mind.
>>> The daily digest list who posts what.              If I"m sick of a
>>> discussion or just don't have the bandwidth on a particular
>>> day for someone who is a voluminous poster,   I just DON'T READ their
>>> posts.
>>>
>>> Personally,  I have taken exception with a few of Kris' contentions
>>> Personally,  it makes me sad to read Miko's slagging Krispen's postding
>>> style of posting and  how this list has been going lately.
>>> Personally,  I've really dug this list a lot lately, precisely because =
we
>>> are talking about things that we all obviously
>>> give a shit about and are not afraid to stir it up, occasionally.
>>>
>>> Regardless, however:
>>> if the little spat between Miko and Krispen goes on any longer,  I'll
>>> just
>>>
>>
>>  quit reading their posts.
>>>
>>> We are a self moderated list.................Kim purposefully set it up
>>> this way.
>>>
>>> Krispen Hartung,   Miko B,   Rainer Straschill, , Michael Klobuchar,
>>> Travis Hartnett,  Bill Walker, Jeff Duke, Per Boysen  and
>>> all the people who have participated in this recent past discussion are
>>> all really strong artists, with really strong personalities and really
>>> strong opinions.   It's what makes them compelling   They are strong an=
d
>>> they are not at all like each other.
>>>
>>> Viva la
>>> difference.....................................................or,
>>>
>>
>>  if you don't believe that, just self edit the posters you don't dig.
>>>
>>> or.......................hell................................just don't
>>> read the list at all.
>>
>>

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Wow Rick, you ARE a great diplomat!<br><br><div class=3D"gmail_quote">On Su=
n, Dec 21, 2008 at 1:01 PM, Krispen Hartung <span dir=3D"ltr">&lt;<a href=
=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> =
wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Crap, how did I d=
o that? Sorry Bill....sorry Rick. &nbsp;That makes even more sense.<br>
<br>
Kris<div><div></div><div class=3D"Wj3C7c"></div></div></blockquote><br>Ok d=
ammit: This certainly all makes more sense now, even if I didn&#39;t
particularly enjoy it. Kevin&#39;s posting about &quot;Where&#39;s the GOO?=
!&quot; really gets it for me=97I just wanted to hang with the topic and fi=
nd the GOO! (Not hide behind my disto!)&nbsp; Hell, Socratic-ly arguing abo=
ut which GOO would have been less tangential and more satisfying. I&#39;ll =
try to use Rick&#39;s useful
information as a guide. Damned philosophy classes!&nbsp; They DO change you=
r
perspective. Sorry for the disturbance. <br><br>I had no idea that&#39;s wh=
ere the term &quot;Gadfly&quot; came from Kris. Damned S-method does get on=
 my nerves dude. Sorry.<br>&nbsp;<blockquote class=3D"gmail_quote" style=3D=
"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padd=
ing-left: 1ex;">
<div><div class=3D"Wj3C7c">----- Original Message ----- <br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Uh that would have been Rick&#39;s comments, not mine, I&#39;m more likely =
to break<br>
out in song, specifically the War classic... &quot;Why can&#39;t we be frie=
nds Why can&#39;t we be friends Why can&#39;t we be friends<br>
Bill<br>
<br>
-----Original Message-----<br>
From: Krispen Hartung [mailto:<a href=3D"mailto:info@krispenhartung.com" ta=
rget=3D"_blank">info@krispenhartung.com</a>]<br>
Sent: Sunday, December 21, 2008 8:47 AM<br>
To: <a href=3D"mailto:Loopers-Delight@loopers-delight.com" target=3D"_blank=
">Loopers-Delight@loopers-delight.com</a><br>
Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion,<br>
overdrive,fuzz,crunc<br>
<br>
Wow, very well said Bill. &nbsp;Occasionally, we need someone like yourself=
, or<br>
your brother, to pull us out of the depths of discussion and show us the<br=
>
larger perspective. Thanks.<br>
<br>
Kris<br>
<br>
p.s. you pegged me, man. Thanks for the reminder that I am indeed the<br>
&quot;Gadfly&quot;, as Plato called his master, Socrates, of the looping co=
mmunity. :)<br>
<br>
Happy holidays, everyone. Enjoy the times with your friends, families, and<=
br>
loved ones.<br>
<br>
----- Original Message ----- <br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Periodically, over the years on this list, &nbsp;people get upset with each=
<br>
other about<br>
things they&#39;ve posted, or the the style with which they post.<br>
<br>
I&#39;ve been on both sides of this phenomena: &nbsp; &nbsp; I&#39;ve had m=
y feelings hurt,<br>
or been pissed off about<br>
something someone has written, and I&#39;ve written things that people have=
<br>
objected to.<br>
<br>
That said and done, &nbsp; I feel compelled to respond to the current<br>
controversy in the<br>
fuzz, distortion thread in particular and to make a point that I think<br>
should be made about it all.<br>
<br>
Viz a vis MikoB&#39;s critical post about Krispen Hartungs&#39; style of po=
sting,<br>
I&#39;d like to point out that &nbsp;Krispen, &nbsp;who was a philosophy ma=
jor (or<br>
minor) in college, is<br>
engaging in a time honored intellectual tradition of discourse called the<b=
r>
Socratic Method<br>
<br>
from wikipedia:<br>
The *Socratic Method* (or *Method of Elenchus* or *Socratic Debate*),<br>
named after the Classical Greek &lt;/wiki/Classical_Greece&gt;<br>
philosopher &lt;/wiki/Philosophy&gt; Socrates &lt;/wiki/Socrates&gt;, is a =
form of<br>
philosophical &lt;/wiki/Philosophy&gt; inquiry in which the questioner expl=
ores<br>
the implications<br>
of others&#39; positions, to stimulate rational thinking and illuminate<br>
ideas.^[1] &lt;#cite_note-0&gt; This dialectical &lt;/wiki/Dialectical&gt; =
method<br>
often involves<br>
an oppositional discussion in which the defense of one point of view is<br>
pitted against another; one participant<br>
may lead another to contradict himself in some way, strengthening the<br>
inquirer&#39;s own point.<br>
<br>
Kris has caused EXACTLY what he frequently sets out to do: &nbsp; &nbsp; Ge=
t a big<br>
reaction; &nbsp; Stimulate a discussion;<br>
Get the intellectual and aethetic and emotional juices going.<br>
<br>
This method, however, is oppositional in nature and it can be vexing at<br>
times, depending on my own capricious moods.<br>
<br>
My father used to be a devil&#39;s advocate and it just drove me up the wal=
l<br>
at times, but it also really<br>
sharpened my intellect and my ability to articulate my thoughts in<br>
conversation and in public forum. &nbsp; &nbsp;I thank him every day for it=
 and the<br>
style still occasionally pisses me off.<br>
<br>
Unlike my father, however, &nbsp; this is a daily list and I can turn off<b=
r>
Krispen Hartung (or Miko B) at will by merely<br>
not reading their posts. &nbsp; &nbsp; Any email browser allows anyone to s=
et up<br>
posting filters...............out of sight , out of mind.<br>
The daily digest list who posts what. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &n=
bsp; &nbsp;If I&quot;m sick of a<br>
discussion or just don&#39;t have the bandwidth on a particular<br>
day for someone who is a voluminous poster, &nbsp; I just DON&#39;T READ th=
eir<br>
posts.<br>
<br>
Personally, &nbsp;I have taken exception with a few of Kris&#39; contention=
s<br>
Personally, &nbsp;it makes me sad to read Miko&#39;s slagging Krispen&#39;s=
 postding<br>
style of posting and &nbsp;how this list has been going lately.<br>
Personally, &nbsp;I&#39;ve really dug this list a lot lately, precisely bec=
ause we<br>
are talking about things that we all obviously<br>
give a shit about and are not afraid to stir it up, occasionally.<br>
<br>
Regardless, however:<br>
if the little spat between Miko and Krispen goes on any longer, &nbsp;I&#39=
;ll just<br>
</blockquote>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
quit reading their posts.<br>
<br>
We are a self moderated list.................Kim purposefully set it up<br>
this way.<br>
<br>
Krispen Hartung, &nbsp; Miko B, &nbsp; Rainer Straschill, , Michael Klobuch=
ar,<br>
Travis Hartnett, &nbsp;Bill Walker, Jeff Duke, Per Boysen &nbsp;and<br>
all the people who have participated in this recent past discussion are<br>
all really strong artists, with really strong personalities and really<br>
strong opinions. &nbsp; It&#39;s what makes them compelling &nbsp; They are=
 strong and<br>
they are not at all like each other.<br>
<br>
Viva la difference.....................................................or,<=
br>
</blockquote>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
if you don&#39;t believe that, just self edit the posters you don&#39;t dig=
.<br>
<br>
or.......................hell................................just don&#39;t=
<br>
read the list at all.</blockquote></blockquote></div></div></blockquote></d=
iv><br>

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Message-ID: <3fa302e30812211048y77f70020i284f8d6d3a354a8c@mail.gmail.com>
Date: Sun, 21 Dec 2008 13:48:39 -0500
From: Mikkoz <biffoz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: special sauce, secret goo
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I really, really want a TBD when I can afford one!  I've looked at Devi Ever
stuff for a long time now and it's really over the top.  BTW: I used to be a
2 Rat guy as well.  -m

On Sun, Dec 21, 2008 at 1:37 PM, Daryl Shawn <highhorse@mhorse.com> wrote:

> For electric playing (rare) I always like having two distortions; a Rat
> with the gain turned as close to nil as possible, just to goose a small tube
> amp (the other part of the equation). Then something that it just totally
> overwhelmingly chaotic and out of control. Smooth, creamy distorsh doesn't
> really work for me.
>
> The Fuzz Factory is very cool, but someone mentioned Devi Ever/Effector 13
> stuff, which I've come to prefer. My FAVORITE pedals (he has a huge
> selection of pedals, all distortions, many with joysticks/photo eyes and
> other weird controllers). Completely out to lunch. I have a Truly Beautiful
> Disaster, which contains not only the crazy self-oscillating fuzz, but also
> a feedback loop for messing up other pedals, plus a photo eye for
> controlling said loop, and in addition an "Aenima" which Devi sold me for
> only $60 because it was a bit out of spec. They both oscillate forever when
> you want them to and seem to have a near-limitless palette of sounds, from
> dying-synth sputters to AM-radio static to solid square-wave fuzz and
> unpredictable octave jumps. Definitely the thing to reach for when you want
> bandmates to stare at you in horror/amazement, wondering if your equipment
> is all broken. Really entertaining.
>
> love:
> http://www.deviever.com/fx/
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>

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I really, really want a TBD when I can afford one!&nbsp; I&#39;ve looked at Devi Ever stuff for a long time now and it&#39;s really over the top.&nbsp; BTW: I used to be a 2 Rat guy as well.&nbsp; -m<br><br><div class="gmail_quote">On Sun, Dec 21, 2008 at 1:37 PM, Daryl Shawn <span dir="ltr">&lt;<a href="mailto:highhorse@mhorse.com">highhorse@mhorse.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">For electric playing (rare) I always like having two distortions; a Rat with the gain turned as close to nil as possible, just to goose a small tube amp (the other part of the equation). Then something that it just totally overwhelmingly chaotic and out of control. Smooth, creamy distorsh doesn&#39;t really work for me.<br>

<br>
The Fuzz Factory is very cool, but someone mentioned Devi Ever/Effector 13 stuff, which I&#39;ve come to prefer. My FAVORITE pedals (he has a huge selection of pedals, all distortions, many with joysticks/photo eyes and other weird controllers). Completely out to lunch. I have a Truly Beautiful Disaster, which contains not only the crazy self-oscillating fuzz, but also a feedback loop for messing up other pedals, plus a photo eye for controlling said loop, and in addition an &quot;Aenima&quot; which Devi sold me for only $60 because it was a bit out of spec. They both oscillate forever when you want them to and seem to have a near-limitless palette of sounds, from dying-synth sputters to AM-radio static to solid square-wave fuzz and unpredictable octave jumps. Definitely the thing to reach for when you want bandmates to stare at you in horror/amazement, wondering if your equipment is all broken. Really entertaining.<br>

<br>
love:<br>
<a href="http://www.deviever.com/fx/" target="_blank">http://www.deviever.com/fx/</a><br><font color="#888888">
<br>
Daryl Shawn<br>
<a href="http://www.swanwelder.com" target="_blank">www.swanwelder.com</a><br>
<a href="http://www.chinapaintingmusic.com" target="_blank">www.chinapaintingmusic.com</a><br></font></blockquote></div>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 18:51:01 2008
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Subject: Re: special sauce, secret goo
Date: Sun, 21 Dec 2008 10:50:58 -0800
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yeah I agree Rick.  Went and listened to Miko on the CT Collective =20
thing and liked what I heard a lot.  Nice order within the chaos.
good chops.
all the ingredients of secret sauce

merriness

r


On Dec 21, 2008, at 10:12 AM, Mikkoz wrote:

> On Sun, Dec 21, 2008 at 12:20 PM, Rick Walker <looppool@cruzio.com> =20=

> wrote:
>
> I really liked your post on your fuzz effects, Miko! I"ve been a =20
> very big fan of your guitar playing for a long time.
>
> Aw shucks . . . thanks man!
>
> I did a noise show recently with my friend Tait-O, from Tokyo's =20
> Noise Clinic and
> had incredible sounds coming out of a ZVEX fuzz factory and your =20
> aforementioned
> PRESCRIPTION experience.        I was thinking about springing for one
> (ooooh, they are pricey) before you posted this, but I think hearing =20=

> that you used to
> use one is going to push me over the top.
>
> Not "used to" it's still my main go-to fuzz. It's everywhere in most =20=

> of my recorded work. If you haven't popped for one yet and need a =20
> push, I could loan you mine for a week to demo=97hear how it sounds =20=

> with your other stuff into your rig. It's more opaque and smooth =20
> with an od before it, and more grainy and transparent and less =20
> linear without the od=97od + wha really smoothes things out and heads =20=

> towards Fripp land with a little extra hi-mid peak. (It approximates =20=

> the Lovetone Big Cheese in that mode). Then there's the Swell mode =20
> as a noise-freak's bonus button. I couldn't live without mine. I'm =20
> in acoustic mode right now, so I wouldn't miss it. Yeah, a Vex FF in =20=

> front of everything gives you a little chaos button that you can =20
> just turn on and off for quick events. Through the od-wah-exp, you =20
> never even know what happened, but things go haywire in a totally =20
> controllable, yet unpredictable way. It's really fun and always =20
> keeps you guessing . . . Hell, I'll loan you the ZV Fuzz Probe too. =20=

> Give me a call if you want to check 'em both out.
>
> The other fantastic distorted sound that I heard recently was Scout =20=

> Nibblet, the british
> indie singer songwriter (who is really simplistic, minimalistic and =20=

> cool imho) playing live. She had a POG and a Big Muff and a Fender =20
> styled guitar (I think a Jazz Master but am
> not sure) and that's all.
>
> I'm going to go demo a POG at Sylvan next week. (I had Albert go =20
> over my acoustic and give it a setup: fret mill; nut shim; two new =20
> bridge saddles (bone and ebony) to see what the difference might be. =20=

> Pretty interesting, but I think I'm leaning towards bone.)  Anyway, =20=

> I glanced at their pedal case and realized they've grown a pretty =20
> amazing collection of nice stuff.  Looks like a great selection of =20
> od's as well as a lot of boutique offerings, so I'm heading down =20
> there for some noise making and maybe freak them out a bit.
>
> --=20
> Miko Biffle
> Biffoz@Gmail.com
> MBiffle@FoxRacingShox.com
> "Running scared from all the usual distractions!"

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com






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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">yeah I agree Rick. &nbsp;Went =
and listened to Miko on the CT Collective thing and liked what I heard a =
lot. &nbsp;Nice order within the chaos.<div>good chops.</div><div>all =
the ingredients of secret =
sauce</div><div><br></div><div>merriness</div><div><br></div><div>r</div><=
div><br></div><div><br><div><div>On Dec 21, 2008, at 10:12 AM, Mikkoz =
wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite">On Sun, Dec 21, 2008 at 12:20 PM, Rick Walker <span =
dir=3D"ltr">&lt;<a =
href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a>></span> =
wrote:<br><br><div class=3D"gmail_quote"><blockquote class=3D"gmail_quote"=
 style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"> I really liked your post on your fuzz =
effects, Miko! I"ve been a very big fan of your guitar playing for a =
long time.<br> </blockquote><div><br>Aw shucks . . . thanks =
man!<br>&nbsp;</div><blockquote class=3D"gmail_quote" =
style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;">I did a noise show recently with my friend =
Tait-O, from Tokyo's Noise Clinic and<br> had incredible sounds coming =
out of a ZVEX fuzz factory and your aforementioned<br> PRESCRIPTION =
experience. &nbsp; &nbsp; &nbsp; &nbsp;I was thinking about springing =
for one<br> (ooooh, they are pricey) before you posted this, but I think =
hearing that you used to<br> use one is going to push me over the =
top.<br> </blockquote><div>&nbsp;<br>Not "used to" it's still my main =
go-to fuzz. It's everywhere in most of my recorded work. If you haven't =
popped for one yet and need a push, I could loan you mine for a week to =
demo=97hear how it sounds with your other stuff into your rig. It's more =
opaque and smooth with an od before it, and more grainy and transparent =
and less linear without the od=97od + wha really smoothes things out and =
heads towards Fripp land with a little extra hi-mid peak. (It =
approximates the Lovetone Big Cheese in that mode). Then there's the =
Swell mode as a noise-freak's bonus button. I couldn't live without =
mine. I'm in acoustic mode right now, so I wouldn't miss it. Yeah, a Vex =
FF in front of everything gives you a little chaos button that you can =
just turn on and off for quick events. Through the od-wah-exp, you never =
even know what happened, but things go haywire in a totally =
controllable, yet unpredictable way. It's really fun and always keeps =
you guessing . . . Hell, I'll loan you the ZV Fuzz Probe too. Give me a =
call if you want to check 'em both out.<br> <br></div><blockquote =
class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, =
204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"> The other =
fantastic distorted sound that I heard recently was Scout Nibblet, the =
british<br> indie singer songwriter (who is really simplistic, =
minimalistic and cool imho) playing live. She had a POG and a Big Muff =
and a Fender styled guitar (I think a Jazz Master but am<br> not sure) =
and that's all.<br></blockquote></div><br>I'm going to go demo a POG at =
Sylvan next week. (I had Albert go over my acoustic and give it a setup: =
fret mill; nut shim; two new bridge saddles (bone and ebony) to see what =
the difference might be. Pretty interesting, but I think I'm leaning =
towards bone.)&nbsp; Anyway, I glanced at their pedal case and realized =
they've grown a pretty amazing collection of nice stuff.&nbsp; Looks =
like a great selection of od's as well as a lot of boutique offerings, =
so I'm heading down there for some noise making and maybe freak them out =
a bit. <br clear=3D"all"> <br>-- <br>Miko Biffle<br><a =
href=3D"mailto:Biffoz@Gmail.com">Biffoz@Gmail.com</a><br>MBiffle@FoxRacing=
Shox.com<br>"Running scared from all the usual =
distractions!"<br></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 18:55:47 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: special sauce, secret goo
Date: Sun, 21 Dec 2008 10:55:46 -0800
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Bill,

The trouble with talking about "special sauce and secret goo" is that=20
talking about it sort of demystifies it . . . and of course it's no=20
longer a "secret" either.

I' sort of with you on the overdrive vs fuzz thing (in most instances).

In a simple straight guitar set up I use a yellow Boss OD-2 and an amp=20=

with a clean and an adjustable dirty channel.

Between the pedal and the amp's 2 channels I get a small selection of=20
options:

1) Totally clean signal (pedal off and amp set to clean).

2) One variety of low-grade sizzle from the pedal alone (in combination=20=

with the clean amp channel)

3) Another variety of subtle rattiness from the amp's "dirty" channel=20
alone (pedal off).

4) A nicely rich high-gain sound from both the pedal and amp dirt=20
together.

If, for some reason, it's still not crunchy enough . . . I can always=20
reach over to the amp and tweak the channel 2 gain upwards a little=20
more (it's usually only set on about 3 anyway).

Works for me (when I play straight guitar stuff).

I'm a guy who likes more than a few options.

As you know, it's not very often that I venture out in a serious=20
looping situation without the full toot of other odd bits of equipment.

Too much.

That's been my main weakness at the Y2K events all along - I bring too=20=

much (and sometimes equipment fails, or I'm simply exhausted from=20
schlepping it all).

But the reason I do is that the real "special sauce and secret goo"=20
thang for me is complex layers of voices (or tones) in combination . .=20=

. playing with a rig that will give you BOTH a clean and a dirty sound=20=

mixed together simultaneously.

Add in entirely separate processing schemes for each of those and it=20
gets even more complicated.

Make each stereo . . . more so.

Add in stereo looping and post-loop processing and it becomes somewhat=20=

unwieldy to control and nearly impossible to set up or tear down in=20
15-20 minutes at festivals.

The thing I like most (since having moved from Boss GR series synths to=20=

VG hex processing) is to mix 2 kinds of "clean" sound together.

The VG-99 will allow me to mix the straight clean sound of my magnetic=20=

pickups (the Duncans on my Gibson) with any number of other modeled=20
"clean" sound (say nylon, 12-string, or banjo, Tele or Strat) not to=20
mention combinations of 3 different tones together (yes that's possible=20=

too).

And that's not even touching on its synth-like capabilities, nor the=20
ability to have a mix of amp "voices" too and blend between them.

For me a good deal of the "special sauce and secret goo" is just=20
finding the right **blend** of things.

Sooner or later you come across a=20
guitar/plectrum/strings/pickups/effects/amp/speaker/mic combination=20
that pushes all the right sonic buttons for you - this becomes your=20
"special sauce and secret goo."

At least for a while . . . until you find something new that turns you=20=

on and inspires you to play.

Mine just takes a lot of hardware.

I can play without it . . . but rather uninspired if I do.

Best regards,

tEd =AE KiLLiAn

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

"You can safely assume that you've created God in your own image when=20
it turns out that God hates all the same people you do."  =97  Anne=20
Lamott

On Dec 20, 2008, at 11:00 PM, William Walker wrote:

> Hey!=A0 =A0can=92t we get back to talking about Special Sauce and =
Secret=20
> Goo?=A0 I=92m with Kevin, =A0and I started this thread, OK? So blog =
buddies=20
> what=92s your poison, I know we=92ve been over this before but it =
bears=20
> repeating, as peoples taste and gizmos change. =A0What distortion are=20=

> you using and what do you like? Are you an overdrive and amp=20
> distortion guy like me, does distortion=A0 do =A0it for you, are you a=20=

> metal monger? =A0or are you a fuzz fancier, ( there should be a=20
> periodical called Fuzz Fancy like Dog Fancy the magazine for dog=20
> lovers) =A0show me what you got and tell me why. I love my newest=20
> overdrive the Zendrive, as I previously stated, great at any setting=20=

> ,and the Twin Tube is also very good sounding and tube driven =A0and a=20=

> little more unruly and prone to feedback, at high settings.=A0 I=92ve =
been=20
> digging the octave fuzz setting on the M-13 lately that sounds great=20=

> on the lap steel , =A0I can get sub octave death metal lap steel =
tones,=20
> =A0oh baby!
> Bill

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Subject: RE: special sauce, secret goo
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Hear, here, Bill!

 

My secret goo is the one-two punch of a Rat and Big Muff, back-to-back. I
like them both on for that dark ambient wall of doomlike fuzz, especially
with the Ebow. If I solo and I want the tones cleaner, I just use the Rat,
tweaked to something that will come through the laid-down loops already
playing.

 

Sometimes I wish I had those overdriven tones of the typical progressive
rock guitar solo, such as something Gilmour-esque, or from bands such as
Marillion, IQ and Porcupine Tree. (I love Steven Wilson's tone.).

 

So if anyone has any recommendation on which nifty, goo-like pedals will
provide these tones, let me know.either here or off-list.

 

Peace.

 

Ed in NJ

http://www.myspace.com/edward_yuhas

 

 


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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'>Hear, here, =
Bill!<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>My secret goo is the one-two punch =
of a
Rat and Big Muff, back-to-back. I like them both on for that dark =
ambient wall
of doomlike fuzz, especially with the Ebow. If I solo and I want the =
tones
cleaner, I just use the Rat, tweaked to something that will come through =
the laid-down
loops already playing.<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>Sometimes I wish I had those =
overdriven
tones of the typical progressive rock guitar solo, such as something
Gilmour-esque, or from bands such as Marillion, IQ and Porcupine Tree. =
(I love
Steven Wilson&#8217;s tone.).<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>So if anyone has any recommendation =
on
which nifty, goo-like pedals will provide these tones, let me =
know&#8230;either
here or off-list.<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>Peace.<o:p></o:p></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'><o:p>&nbsp;</o:p></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'>Ed in =
NJ<o:p></o:p></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.myspace.com/edward_yuhas">http://www.myspace.com/edwar=
d_yuhas</a><o:p></o:p></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'><o:p>&nbsp;</o:p></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'><o:p>&nbsp;</o:p></span></font></p>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 19:17:28 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: the amazing kloby versus santana.....was the GP/KLOBUCHAR thang
Date: Sun, 21 Dec 2008 11:17:22 -0800
To: Loopers-Delight@loopers-delight.com
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Michael,

Welcome to the club.

I've been mentioned twice in GP.

Once in a fairly dismissive short review of my CD by Matt Blackett:

"Feedback shreiks and EBow howls over hypnotic grooves add up to a=20
great soundtrack for a bad dream." -- MB Guitar Player, July 2002 issue=20=

"Quick Hits" (p.104)

And again in the "Loopfest" article a few years ago it mentions the=20
size of my rig (in a caption under a photo) . . . and mentions my music=20=

not at all (probably a blessing since I was not especially inspired=20
that night).

Trust me, you get over these things.

I now post Matt's article prominently (on MySpace and elsewhere) anyway.

So what!

Keep on doing what you're doing.

You're still the guitar player I want to be when I grow up.

Best regards,

tEd =AE KiLLiAn

The opposite of a correct statement is a false statement. But the=20
opposite of a profound truth may well be another profound truth. =96=20
Niels Bohr (1885 - 1962)

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

On Dec 21, 2008, at 7:37 AM, Nemoguitt@aol.com wrote:

> what's funny, is the fact that my #1 son told me many years ago that i=20=

> sounded like santana.....yikes!.....thus began my bitrman/ineko=20
> dreams.....i know i should have listened to santana's sage (read, pot)=20=

> advice but i guess when i was visited by some sacred loopanarys in the=20=

> way back, my mind was befuddled and i lost sight of the true guitar=20
> ideal......well, it's been a day since my review showed up at my door,=20=

> like another plague befalling egypt, and i have ridden the
>  rolli-coaster of doubt.....i am a musical genius.....my tubes should=20=

> be tied and my children should change their last names.....play on or=20=

> hit erase.....i swore, yesterday, to never play guitar again but=20
> thanks to all my loopkindern and their wonderful support.....i'm=20
> back!.....did ya miss me?.....:).....FYI.....if you want GP to review=20=

> your myspace (for all you non GP readers out there, if there is such a=20=

> thing!) just become "friends " with michael molenda=20
> (editor).....www.myspace.com/michaelmolenda.....NEWS FLASH! , the=20
> things we learn by reading the entire article, in addition to my=20
> tea-shirt, strings and picks (customized, thank you very much!), i=20
> just read that "your two best mp3s will be added to the playlist of EB=20=

> radio, ernieball.com " ......i'm really curious to see what my 2 best=20=

> mp3's are.....the soup thickens!.....:)m
>
>
>  ".....and it isn't hypnotic, EITHER.".....michael molenda
>
>  new groovy tunes at:
>  http://www.myspace.com/klobuchar10
>  www.ct-collective.com
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 19:21:12 2008
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Date: Sun, 21 Dec 2008 14:21:06 EST
Subject: Re: the amazing kloby versus santana.....was the GP/KLOBUCHAR thang
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In a message dated 12/21/08 2:17:35 PM, tedkillian@charter.net writes:


> I've been mentioned twice in GP.
> 

twice.....hmmmmmmmmmmm!!!!!.....:)m



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025)

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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 12/21/08 2:17:35 PM, tedkillian@charter.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">I've been mentioned t=
wice in GP.<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">twice.....hmmmmmmmmmmm!!!!!.....:)m<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all=20=
your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (http://www.aol.com=
/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)<=
/HTML>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 19:32:23 2008
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Date: Sun, 21 Dec 2008 14:31:52 -0500
From: Mikkoz <biffoz@gmail.com>
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Man, I'm frikkin' retired!  (And just recently temporarily paralyzed my
right deltoid, so I'm really not liking much arm action at the moment . . .
can't get food to my mouth with my right arm! There's more info at Facebook
if you really need to know.)

On Sun, Dec 21, 2008 at 12:34 PM, Rick Walker <looppool@cruzio.com> wrote:

> Krispen wrote:
> "Wow, very well said Bill.  Occasionally, we need someone like yourself, or
> your brother,
> to pull us out of the depths of discussion and show us the larger
> perspective."
>
> Errrrr,   it actually WAS Bill's brother (they call me Rick <wink>)  who
> wrote that post.............
>
> .....not to take a single thing away from my illustrious and talented
> brother.
>
>
>
> and Merry Christmas to you,  your lovely wife and kids!
> I can't wait for the Boise Experimental Music Festival, by the way
> <probably a festival that could really benefit from a Miko B performance
> he says,  stirring the pot with a wink>
>
> love,  Rick
>
>
>


-- 
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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Man, I&#39;m frikkin&#39; retired!&nbsp; (And just recently temporarily paralyzed my right deltoid, so I&#39;m really not liking much arm action at the moment . . . can&#39;t get food to my mouth with my right arm! There&#39;s more info at Facebook if you really need to know.)<br>
<br><div class="gmail_quote">On Sun, Dec 21, 2008 at 12:34 PM, Rick Walker <span dir="ltr">&lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Krispen wrote:<br>
&quot;Wow, very well said Bill. &nbsp;Occasionally, we need someone like yourself, or your brother,<br>
to pull us out of the depths of discussion and show us the larger perspective.&quot; <br>
<br>
Errrrr, &nbsp; it actually WAS Bill&#39;s brother (they call me Rick &lt;wink&gt;) &nbsp;who wrote that post.............<br>
<br>
.....not to take a single thing away from my illustrious and talented brother.<br>
<br>
<br>
<br>
and Merry Christmas to you, &nbsp;your lovely wife and kids!<br>
I can&#39;t wait for the Boise Experimental Music Festival, by the way<br>
&lt;probably a festival that could really benefit from a Miko B performance<br>
he says, &nbsp;stirring the pot with a wink&gt;<br>
<br>
love, &nbsp;Rick<br>
<br>
<br>
</blockquote></div><br><br clear="all"><br>-- <br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the usual distractions!&quot;<br>

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Date: Sun, 21 Dec 2008 11:46:37 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
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Subject: This is how all distortion pedals should be demonstrated
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Proper footware is KEY:
http://www.youtube.com/watch?v=nahPA-RKEfQ&feature=PlayList&p=5F8736BC976DBA31&index=1&playnext=2&playnext_from=PL


TH

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Proper footware is KEY:<div><br></div><div><a href="http://www.youtube.com/watch?v=nahPA-RKEfQ&amp;feature=PlayList&amp;p=5F8736BC976DBA31&amp;index=1&amp;playnext=2&amp;playnext_from=PL">http://www.youtube.com/watch?v=nahPA-RKEfQ&amp;feature=PlayList&amp;p=5F8736BC976DBA31&amp;index=1&amp;playnext=2&amp;playnext_from=PL</a><br>
</div><div><br></div><div><br></div><div>TH</div>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 19:53:56 2008
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Ok dammit: This certainly all makes more sense now, even if I didn't 
particularly enjoy it. Kevin's posting about "Where's the GOO?!" really gets 
it for me—I just wanted to hang with the topic and find the GOO! (Not hide 
behind my disto!)  Hell, Socratic-ly arguing about which GOO would have been 
less tangential and more satisfying. I'll try to use Rick's useful 
information as a guide. Damned philosophy classes!  They DO change your 
perspective. Sorry for the disturbance.

I had no idea that's where the term "Gadfly" came from Kris. Damned S-method 
does get on my nerves dude. Sorry.
***********

Understood, man.  Hey, there is a reason why Socrates was put to death by 
drinking hemlock :)   You can only piss off the status quo for so long 
without it coming back to bight you on the ass.

Sidenote for Optional Reading: For me, my bachelor's degree in philosophy 
changed my life permanently, sometimes for the good, sometimes for worse.  I 
basically took a vow to myself that I would always question, always search 
for answers, and never be satisfied with anything that couldn't withstand 
the test of reason. And so logic, rhetoric, and an understanding of logical 
fallacies are my working tools.  And it really isn't personal. This is a 
peculiar thing about philosophy majors....they can engage in very heated 
debate, which makes outsiders feel very uncomfortable and think they are 
fighting personally, but then after the debate, they laugh and go off and 
have a beer together. It is all just a matter of distancing oneself from the 
person, and focusing only on the logic of the subject matter, which is the 
only way to tackle the problems without getting caught up in emotion and 
other biases that can effect the outcome negatively, generate 
inconsistencies, etc. And of course, this is only an ideal. We all serve 
from the ideal in imperfection.

Kris

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 20:22:35 2008
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Subject: Re:  Special Sauce Secret Goo
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--
Ted Killian wrote:
"That's been my main weakness at the Y2K events all along - I bring too 
much (and sometimes equipment fails, or I'm simply exhausted from 
schlepping it all)."


Dear Ted, 

I adore your artistry.   from Lux Aeterna to your beautiful Y2k poster work.

that said,   I'd like to challenge you to come to 
Y2K9 next year with one line 6 DL-4,   one overdrive pedal and one reverb pedal.

I think you'd play a fantastic set with only that stuff.


Don't get me wrong,   because I love all the things that your throw into the mix,   but 
I'd love to see you play a simple heartfelt set where you weren't so beat up by your gear 
mass.

Now, I think I'm unconciously talking to myself here, as well:

I played a show that meant a lot to me last night  (playing my dayglo orange set for 
my peers in the goth scene)   and I took a rack with an electrix repeater (Bill's because mine 
doesn't seem to work anymore),  an EDP , a DL-4 (with a boss intellishifter and a cheesy 
alesis nano verb) and my Looperlative.

I just had fucking fits with my gain structures and was completely unable to use my Looperlative 
because I just didn't have enough time at sound check (and I had an hour and a half to get it 
together).

It just totally fucked with my head not to use the Looperlative which was the only sophisticated 
looper I took on my europe/uk tour last summer.

Every time I do a show,  someone comments on how much stuff I bring.
I always ignore them.

Last night someone mentioned it again as I loaded out and, depressingly,  
I thought,   "yeah,  no fucking kidding"

It's the first time I"ve ever been that demoralized.

Maybe less actually IS more, eh?

See you at Y2K9 whether your rig is big or small.  I look forward to it, buddy!

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Date: Sun, 21 Dec 2008 21:30:09 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Ted said:
> The trouble with talking about "special sauce and secret goo" is that tal=
king about it sort of demystifies it . . . and of course it's no longer a "=
secret" either.

True...actually to an extent that it's no longer secret if only one
single person knows about it - and for that reason, the most gooish
situations in my performances were always those where my gear suddenly
did something I didn't expect (and in some cases to this day still
can't explain - look forward to my "Wie gro=DF ist die Luft ?" album -
due for release this December the 24th - for some more of this secret
stuff).

            Rainer

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 20:41:11 2008
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Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion, overdrive,fuzz,crunc
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Speaking of logic, philosophy, and debating, and as a side-topic, years ago 
a logic quiz came out in Time Magazine. I took the liberty to convert that 
quiz into a webpage, here:

http://www.krispenhartung.com/logicquiz/

It is a lot of fun. You can click until you get the right answers, and at 
the bottom is a link that I created (not part of the original quiz), which 
explains why the answers are correct.   All of the answers are based on 
classic logic and rules of derivation - modus ponens, modus tolens, rules of 
necessary and sufficient conditions, etc   People with a back ground in 
logic, mathematics, or electrical engineering (like my wife), typically ace 
this quiz.  My wife aced it without even trying...must have been all that 
logic of gates, switches, etc, burned in her brain. :)

Kris

From Loopers-Delight-request@loopers-delight.com  Sun Dec 21 21:08:03 2008
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Solstice Greetings to you all.

Sorry if this seems like shameless self promotion, but I thought I would 
share my first music video attempt with you all. The music is  solo guitar 
looping piece I recorded a few days ago and the video was all done today. I 
set myself a deadline of today to get it finished. Deadlines are good!

I'm afraid there's no secret goo involved, but I hope you like it...

<http://blip.tv/file/1600072>


Steve
www.stevemoyes.co.uk 


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Quoting Stephen Moyes <stephenmoyes@blueyonder.co.uk>:

> Solstice Greetings to you all.
>
> I'm afraid there's no secret goo involved, but I hope you like it...
>
> <http://blip.tv/file/1600072>
>

Steve,

I like this... very meditative.  Thanks.

-- kevin

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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: solstice looping video
Date: Sun, 21 Dec 2008 15:24:28 -0800
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On Dec 21, 2008, at 2:57 PM, kkissinger@kevinkissinger.com wrote:

> I like this... very meditative.  Thanks.

Me likewise.

I love that simple minimalist use of the hand to generate imagery --   
the interplay of the real gesture at the edge of readability and the  
abstract visuals.


regards


BobC



http://tinyurl.com/yt8f8j  Flickr set

http://www.youtube.com/tynego

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   I also saw Hendrix with Soft Machine=2C Twice  at age 13. I was amazed b=
y SM who I'd never heard of. At the Washigton DC Hilton show  local players=
 like Danny Gatton =2CRoy Buchanan and Nils Lofgrin =2Camong others were in=
 attendance having their minds blown.=20
  AT Columbia Maryland =2C an out door amphitheater=2C it was summer thunde=
rstorm weather=2Cwhich caused Soft Machine problems. No rain during Hendrix=
's set=2Cbut when he left the stage LIGHTENING STRUCK THE BLDG! all the pow=
er went out and the rain came down so hard people couldn't find the parking=
 ot=2Cwere falling in the lake etc.
   I think Rick is correct that clean is comin back. I've completely avoide=
d any sort of distortion for years =2Cplaying a hollowbdy through a polyton=
e.  At Burning man=2Cinspired I guess bu balls of fire exploding all around=
 I played my first ever solo with the Grunge distortion on a digitech rp12 =
( which I took along cause I don=3Bt care if it gets eaten by Playa dust) c=
ranked I got a just about exact  Hendrix star spangled banner at woodstock =
sound. Exactly the kind of sounds I've  avoided like the plague.I just got =
an Ampeg Jet that gets some very nice  tube coloration. I like it way bette=
r the Blues Jr.

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<body class=3D'hmmessage'>
&nbsp=3B&nbsp=3B I also saw Hendrix with Soft Machine=2C Twice&nbsp=3B at a=
ge 13. I was amazed by SM who I'd never heard of. At the Washigton DC Hilto=
n show&nbsp=3B local players like Danny Gatton =2CRoy Buchanan and Nils Lof=
grin =2Camong others were in attendance having their minds blown. <br>&nbsp=
=3B AT Columbia Maryland =2C an out door amphitheater=2C it was summer thun=
derstorm weather=2Cwhich caused Soft Machine problems. No rain during Hendr=
ix's set=2Cbut when he left the stage LIGHTENING STRUCK THE BLDG! all the p=
ower went out and the rain came down so hard people couldn't find the parki=
ng ot=2Cwere falling in the lake etc.<br>&nbsp=3B&nbsp=3B I think Rick is c=
orrect that clean is comin back. I've completely avoided any sort of distor=
tion for years =2Cplaying a hollowbdy through a polytone.&nbsp=3B At Burnin=
g man=2Cinspired I guess bu balls of fire exploding all around I played my =
first ever solo with the Grunge distortion on a digitech rp12 ( which I too=
k along cause I don=3Bt care if it gets eaten by Playa dust) cranked I got =
a just about exact&nbsp=3B Hendrix star spangled banner at woodstock sound.=
 Exactly the kind of sounds I've&nbsp=3B avoided like the plague.I just got=
 an Ampeg Jet that gets some very nice&nbsp=3B tube coloration. I like it w=
ay better the Blues Jr.<br></body>
</html>=

--_454c0516-6d1f-4ac1-84ff-45ab69c2b97d_--

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I couldn't understand the question... had no idea which of the answers were
true, drew little diagrams of bikes and hats, gave up, guessed.. and got
them all right...!

M



On Sun, Dec 21, 2008 at 9:41 PM, Krispen Hartung <info@krispenhartung.com>wrote:

> Speaking of logic, philosophy, and debating, and as a side-topic, years ago
> a logic quiz came out in Time Magazine. I took the liberty to convert that
> quiz into a webpage, here:
>
> http://www.krispenhartung.com/logicquiz/
>
> It is a lot of fun. You can click until you get the right answers, and at
> the bottom is a link that I created (not part of the original quiz), which
> explains why the answers are correct.   All of the answers are based on
> classic logic and rules of derivation - modus ponens, modus tolens, rules of
> necessary and sufficient conditions, etc   People with a back ground in
> logic, mathematics, or electrical engineering (like my wife), typically ace
> this quiz.  My wife aced it without even trying...must have been all that
> logic of gates, switches, etc, burned in her brain. :)
>
> Kris
>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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I couldn&#39;t understand the question... had no idea which of the answers were true, drew little diagrams of bikes and hats, gave up, guessed.. and got them all right...!<br><br>M<br><br><br><br><div class="gmail_quote">On Sun, Dec 21, 2008 at 9:41 PM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Speaking of logic, philosophy, and debating, and as a side-topic, years ago a logic quiz came out in Time Magazine. I took the liberty to convert that quiz into a webpage, here:<br>

<br>
<a href="http://www.krispenhartung.com/logicquiz/" target="_blank">http://www.krispenhartung.com/logicquiz/</a><br>
<br>
It is a lot of fun. You can click until you get the right answers, and at the bottom is a link that I created (not part of the original quiz), which explains why the answers are correct. &nbsp; All of the answers are based on classic logic and rules of derivation - modus ponens, modus tolens, rules of necessary and sufficient conditions, etc &nbsp; People with a back ground in logic, mathematics, or electrical engineering (like my wife), typically ace this quiz. &nbsp;My wife aced it without even trying...must have been all that logic of gates, switches, etc, burned in her brain. :)<br>

<br>
Kris<br>
<br>
</blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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.. Damn... maybe I should have read Kris's mail to the end..

..answers are based on classic logic and rules of derivation - modus ponens,
modus tolens, rules of necessary and sufficient conditions, etc   People
with a back ground in logic, mathematics, or electrical engineering...

Well I failed maths at school, still use my fingers for all important
calculations, numbers make me dizzy, (i ahve a splitting headache now from
trying to do this quiz) and the wife does the money side of things... as to
where I get my luck from.. really dont know, first time its happened...
Got any test yer luck quizes??

M

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.. Damn... maybe I should have read Kris&#39;s mail to the end..<br><br>..answers are based on classic logic and rules of derivation - modus
ponens, modus tolens, rules of necessary and sufficient conditions, etc
&nbsp; People with a back ground in logic, mathematics, or electrical
engineering...<br><br>Well I failed maths at school, still use my fingers for all important calculations, numbers make me dizzy, (i ahve a splitting headache now from trying to do this quiz) and the wife does the money side of things... as to where I get my luck from.. really dont know, first time its happened...<br>
Got any test yer luck quizes??<br><br>M<br>

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Hm, someone's reply-to is uh, oh nemmind.
  ----- Original Message -----=20
  From: William Walker=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Sunday, December 21, 2008 7:00 AM
  Subject: special sauce, secret goo


  Hey!   can't we get back to talking about Special Sauce and Secret =
Goo?  I'm with Kevin,  and I started this thread, OK? So blog buddies =
what's your poison, I know we've been over this before but it bears =
repeating, as peoples taste and gizmos change.  What distortion are you =
using and what do you like? Are you an overdrive and amp distortion guy =
like me, does distortion  do  it for you, are you a metal monger?  or =
are you a fuzz fancier, ( there should be a periodical called Fuzz Fancy =
like Dog Fancy the magazine for dog lovers)  show me what you got and =
tell me why. I love my newest overdrive the Zendrive, as I previously =
stated, great at any setting ,and the Twin Tube is also very good =
sounding and tube driven  and a little more unruly and prone to =
feedback, at high settings.  I've been digging the octave fuzz setting =
on the M-13 lately that sounds great on the lap steel ,  I can get sub =
octave death metal lap steel tones,  oh baby!

  Bill

My first fuzz effect was an accident of use.  Back in '70 or so I got an =
Ampex cassette recorder - mono but it had FM! - which allowed a kind of =
PA via a mini-mic input.  I didn't want to do line-in to my stereo so =
when I got my first electric I fed it through the Ampex.  I put the =
guitar through several of those Armstrong cubes to a Small Stone to my =
CryBaby to the Ampex.  Lovely warm fuzz and it ran on batteries.

=20

Nowadays I like riding the pickups with the ebow, then limiting the =
input appropriately.  I've never really done amp distortion before.  =
Perhaps I'll get a chance when we move to the country.  And I buy an =
amp.  :)

=20

(btw I took new vid at solstice sunset last night, put it to some oldish =
music up on the sites below)

=20

SP Goodman
*
http://www.vimeo.com/spgoodman

http://www.youtube.com/spgoodman

http://www.last.fm/music/Stephen+Goodman


=20

=20

=20

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	COLOR: windowtext; FONT-FAMILY: Arial; mso-style-type: personal-compose
}
DIV.Section1 {
	page: Section1
}
</STYLE>
</HEAD>
<BODY lang=3DEN-US vLink=3Dpurple link=3Dblue bgColor=3D#ffffff>
<DIV><FONT size=3D2>Hm, someone's reply-to is uh, oh =
nemmind.</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=3Dbillwalker@baymoon.com =
href=3D"mailto:billwalker@baymoon.com">William=20
  Walker</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, December 21, 2008 =
7:00=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> special sauce, secret =
goo</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">Hey!&nbsp; &nbsp;can=92t =
we get back=20
  to talking about Special Sauce and Secret Goo?&nbsp; I=92m with Kevin, =
&nbsp;and=20
  I started this thread, OK? So blog buddies what=92s your poison, I =
know we=92ve=20
  been over this before but it bears repeating, as peoples taste and =
gizmos=20
  change. &nbsp;What distortion are you using and what do you like? Are =
you an=20
  overdrive and amp distortion guy like me, does distortion&nbsp; do =
&nbsp;it=20
  for you, are you a metal monger? &nbsp;or are you a fuzz fancier, ( =
there=20
  should be a periodical called Fuzz Fancy like Dog Fancy the magazine =
for dog=20
  lovers) &nbsp;show me what you got and tell me why. I love my newest =
overdrive=20
  the Zendrive, as I previously stated, great at any setting ,and the =
Twin Tube=20
  is also very good sounding and tube driven &nbsp;and a little more =
unruly and=20
  prone to feedback, at high settings.&nbsp; I=92ve been digging the =
octave fuzz=20
  setting on the M-13 lately that sounds great on the lap steel , =
&nbsp;I can=20
  get sub octave death metal lap steel tones, &nbsp;oh=20
  baby!<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">Bill<o:p></o:p></SPAN></FONT></P></DIV></BLOCKQUOTE><FONT=20
face=3DArial size=3D2><SPAN style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p>
<P class=3DMsoNormal dir=3Dltr><FONT face=3DArial size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p><FONT =
face=3D"Trebuchet MS">My=20
first&nbsp;fuzz effect was&nbsp;an accident of use.&nbsp; Back in '70 or =
so I=20
got an Ampex cassette recorder - mono but it had FM! - which allowed a =
kind of=20
PA via a mini-mic input.&nbsp; I didn't want to do line-in to my stereo =
so when=20
I got my first electric I fed it through the Ampex.&nbsp; I put the =
guitar=20
through several of those Armstrong cubes to a Small Stone to my CryBaby =
to the=20
Ampex.&nbsp; Lovely warm fuzz and it ran on=20
batteries.</FONT></o:p></SPAN></FONT></P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>Nowadays I like =
riding the=20
pickups with the ebow, then limiting the input appropriately.&nbsp; I've =
never=20
really done amp distortion before.&nbsp; Perhaps I'll get a chance when =
we move=20
to the country.&nbsp; And I buy an amp.&nbsp; :)</o:p></SPAN></FONT></P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>(btw I took new vid =
at solstice=20
sunset last night, put it to some oldish music up on the sites=20
below)</o:p></SPAN></FONT></P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p>SP =
Goodman<BR>*<BR><FONT=20
face=3D"Trebuchet MS"><A=20
href=3D"http://www.vimeo.com/spgoodman">http://www.vimeo.com/spgoodman</A=
></FONT></o:p></SPAN></FONT></P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p><A=20
href=3D"http://www.youtube.com/spgoodman">http://www.youtube.com/spgoodma=
n</A></o:p></SPAN></FONT></P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: Arial"><o:p><A=20
href=3D"http://www.last.fm/music/Stephen+Goodman">http://www.last.fm/musi=
c/Stephen+Goodman</A><BR></P></o:p></SPAN></FONT>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal dir=3Dltr><FONT face=3D"Trebuchet MS" =
size=3D2><SPAN=20
style=3D"FONT-SIZE: 10pt; FONT-FAMILY: =
Arial"><o:p></o:p></SPAN></FONT>&nbsp;</P>
<P class=3DMsoNormal =
dir=3Dltr>&nbsp;</o:p></SPAN></FONT></P></BODY></HTML>

------=_NextPart_000_007F_01C963D0.A1DA5E80--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 02:06:32 2008
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Message-ID: <7334ca1b0812211806ufdbf68bg93cd5f69a0dbf4ba@mail.gmail.com>
Date: Mon, 22 Dec 2008 03:06:29 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: =?ISO-8859-1?Q?Release_Notice:_Rainer_Strasch?= =?ISO-8859-1?Q?ill_-_"Wie_gro=DF_ist_die_Luft_=3F"?=
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------=_Part_69004_18908633.1229911589818
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*Rainer Straschill*
*Wie gro=DF ist die Luft ?
*
2008 - in Rainer Straschill's musical cosmos, the year of the *2008
MoinSound World Tour*, which featured next to stations in three countries,
on two continents, in different festivals (among them headlining the
bodacious Boise Experimental Music Festival
3<http://www.krispenhartung.com/BEMF-3/>)
and again in cyberspace primarily one thing: the triumphant return of the
concert trombone to the instrument choice of Straschill, completed only by
weird vocal noises and his signature "komische Elektronik" (which can only
inadequately be translated to "whimsical electronics").

The album *Wie gro=DF ist die Luft ? *(German for "How big is the air?")
documents different performances from this programme. Indeed, to make it
even more interesting, completed by spontaneously added guest musicians:
during the 2nd Live Looping Festival
Berlin<http://www.myspace.com/liveloopingfestivalberlin>gig, it was TJ
Shredder, who let his even more whimsical electronics (a.k.a
"Ondes Memorielles") loose on a Straschill performing purely acoustically.
The second evening of the BEMF3 main festival found Straschill joined
by Motoko Honda (grand piano) and Krispen Hartung (without any electronics,
but with acoustic guitar), himself well-known from Straschill's
surroundings.

But how does it sound? A short description: odd, and sometimes surprising.
The slightly longer one: surprising insofar, as there are quite lyrical
passages to be admired. And the even longer one: "Writing about music is
like dancing about architecture" - for which reason I'll just point to the
work of art:

For the first time ever, there's a *Straschill-CD available for online
order!* <http://kunaki.com/Sales.asp?PID=3DPX00ZC35CT>* *And independently,
the online listeners
<http://www.jamendo.com/en/album/36542?refuid=3D145131> won't
be disappointed.

So stop sitting around! Listen to it. And great holidays to all of you!

---
http://moinlabs.de
http://www.myspace.com/moinlabs
http://video.google.de/videosearch?q=3Dmoinlabs
http://www.jamendo.com/en/artist/straschill/
http://Kunaki.com/MSales.asp?PublisherId=3D117329<http://kunaki.com/MSales.=
asp?PublisherId=3D117329>

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<div><font color=3D"#808080" face=3D"Arial" size=3D"4"><span class=3D"64026=
3323-21122008"><strong>Rainer Straschill</strong></span></font></div>
<div><font face=3D"Arial" size=3D"6"><span class=3D"640263323-21122008"><st=
rong>Wie gro=DF ist=20
die Luft ?<br></strong></span></font><div><span class=3D"640263323-21122008=
"><font face=3D"Arial" size=3D"2"><br>2008 - in Rainer=20
Straschill&#39;s musical cosmos, the year of the <strong>2008 MoinSound Wor=
ld=20
Tour</strong>, which featured next to stations in three countries, on two=
=20
continents, in different festivals (among them headlining the bodacious <a =
title=3D"http://www.krispenhartung.com/BEMF-3/" href=3D"http://www.krispenh=
artung.com/BEMF-3/">Boise Experimental Music Festival=20
3</a>) and again in cyberspace primarily one thing: the triumphant return o=
f the=20
concert trombone to the instrument choice of Straschill, completed only by =
weird=20
vocal noises and his signature &quot;komische Elektronik&quot; (which can o=
nly=20
inadequately be translated to &quot;whimsical electronics&quot;).</font></s=
pan></div>
<div><span class=3D"640263323-21122008"></span>&nbsp;</div>
<div><span class=3D"640263323-21122008"><font face=3D"Arial" size=3D"2">The=
 album=20
<strong>Wie gro=DF ist die Luft ? </strong>(German for &quot;How big is the=
 air?&quot;)=20
documents different performances from this programme. Indeed, to make it ev=
en=20
more interesting, completed by spontaneously added guest musicians: during =
the=20
<a title=3D"http://www.myspace.com/liveloopingfestivalberlin" href=3D"http:=
//www.myspace.com/liveloopingfestivalberlin">2nd Live Looping=20
Festival Berlin</a> gig, it was TJ Shredder, who let his even more whimsica=
l=20
electronics (a.k.a &quot;Ondes Memorielles&quot;) loose on a Straschill per=
forming purely=20
acoustically. The second evening of the BEMF3 main festival&nbsp;found Stra=
schill=20
joined by&nbsp;Motoko Honda (grand piano) and Krispen Hartung (without any=
=20
electronics, but with acoustic guitar), himself well-known from Straschill&=
#39;s=20
surroundings.</font></span></div>
<div><span class=3D"640263323-21122008"></span>&nbsp;</div>
<div><span class=3D"640263323-21122008"><font face=3D"Arial" size=3D"2">But=
 how does it=20
sound? A short description: odd, and sometimes surprising. The slightly lon=
ger=20
one: surprising insofar, as there are quite lyrical passages to be admired.=
 And=20
the even longer one: &quot;Writing about music is like dancing about archit=
ecture&quot; -=20
for which reason I&#39;ll just point to the work of art:</font></span></div=
>
<div><span class=3D"640263323-21122008"></span>&nbsp;</div>
<div><span class=3D"640263323-21122008"><font face=3D"Arial" size=3D"2">For=
 the first time=20
ever, there&#39;s a <a title=3D"http://kunaki.com/Sales.asp?PID=3DPX00ZC35C=
T" href=3D"http://kunaki.com/Sales.asp?PID=3DPX00ZC35CT"><strong title=3D"h=
ttp://kunaki.com/Sales.asp?PID=3DPX00ZC35CT">Straschill-CD available for=20
online order!</strong></a><strong> </strong>And independently, the <a title=
=3D"http://www.jamendo.com/en/album/36542?refuid=3D145131" href=3D"http://w=
ww.jamendo.com/en/album/36542?refuid=3D145131">online=20
listeners</a>&nbsp;won&#39;t be disappointed.</font></span></div>
<div><span class=3D"640263323-21122008"></span>&nbsp;</div>
<div><span class=3D"640263323-21122008"><font face=3D"Arial" size=3D"2">So =
stop sitting=20
around! Listen to it. And great holidays to all of you!</font></span></div>
<div>&nbsp;</div>
<div align=3D"left"><font face=3D"Arial" size=3D"2">---</font></div>
<div align=3D"left"><font face=3D"Arial" size=3D"2"><a title=3D"http://moin=
labs.de/" href=3D"http://moinlabs.de/">http://moinlabs.de</a></font></div>
<div align=3D"left"><font face=3D"Arial" size=3D"2"><a title=3D"http://www.=
myspace.com/moinlabs" href=3D"http://www.myspace.com/moinlabs">http://www.m=
yspace.com/moinlabs</a></font></div>
<div align=3D"left"><font face=3D"Arial" size=3D"2"><a title=3D"http://vide=
o.google.de/videosearch?q=3Dmoinlabs" href=3D"http://video.google.de/videos=
earch?q=3Dmoinlabs">http://video.google.de/videosearch?q=3Dmoinlabs</a></fo=
nt></div>
<div align=3D"left"><font face=3D"Arial" size=3D"2"><a title=3D"http://www.=
jamendo.com/en/artist/straschill/" href=3D"http://www.jamendo.com/en/artist=
/straschill/">http://www.jamendo.com/en/artist/straschill/</a></font><span =
class=3D"attribute-value" title=3D"http://www.jamendo.com/en/artist/strasch=
ill/"></span></div>

<div align=3D"left"><span class=3D"attribute-value"><font face=3D"Arial" si=
ze=3D"2"><a title=3D"http://Kunaki.com/MSales.asp?PublisherId=3D117329" hre=
f=3D"http://kunaki.com/MSales.asp?PublisherId=3D117329">http://Kunaki.com/M=
Sales.asp?PublisherId=3D117329</a></font></span></div>
<br></div>

------=_Part_69004_18908633.1229911589818--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 02:59:06 2008
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From: "Krispen Hartung" <info@krispenhartung.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Fw: ISIM 2008 Year-End Letter
Date: Sun, 21 Dec 2008 19:59:02 -0700
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Interesting new for you bass players, and for those in Santa Cruz.  I =
just recently became a member of ISIM and plan to get more involved with =
them in the future, where possible.

Kris

www.krispenhartung.com
info@krispenhartung.com


----- Original Message -----=20


ISIM in 2009 will feature The Fourth Annual ISIM Conference taking place =
December 3-6, 2009 at the University of Santa Cruz, hosted by Karlton =
Hester. The ISIM Curriculum Project initiated by Ed Sarath, and the ISIM =
Diversity Project initiated by Ed Sarath and Karlton Hester, will =
continue their development.=20


Deep Tones for Peace, a concert for peace in the Middle East, will be on =
April 25, 2009. The concert co-locates twenty internationally renowned =
bassists via the internet between New York City and Jerusalem, streamed =
world-wide. Project coordinators: Mark Dresser, Sarah Weaver, JC Jones, =
Barre Phillips, Suzanne Thorpe. Affiliated organizations: ISIM, World =
Association of Former United Nations Internes and Fellows, Electronic =
Music Foundation, International Society of Bassists. A fundraising event =
for the project will be hosted at United Nations Headquarters in NYC on =
January 22, 2009. Please email me sarah@isimprov.org to request more =
information.


Executive Director, International Society for Improvised Music
www.isimprov.org



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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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Interesting new for you bass players, =
and for those=20
in Santa Cruz.&nbsp; I just recently became a member of ISIM and plan to =
get=20
more involved with them in the future, where possible.</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><A=20
href=3D"http://www.krispenhartung.com">www.krispenhartung.com</A></FONT><=
/DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A></FONT=
></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV style=3D"FONT: 10pt arial">----- Original Message -----=20
<DIV style=3D"BACKGROUND: #e4e4e4; font-color: black">&nbsp;</DIV></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV>ISIM in 2009 will feature The Fourth Annual ISIM Conference taking =
place=20
December 3-6, 2009 at the <STRONG>University of Santa Cruz</STRONG>, =
hosted by=20
Karlton Hester. The ISIM Curriculum Project initiated by Ed Sarath, and =
the ISIM=20
Diversity Project initiated by Ed Sarath and Karlton Hester, will =
continue their=20
development.&nbsp;</DIV>
<DIV><BR></DIV>
<DIV><STRONG>Deep Tones for Peace</STRONG>, a concert for peace in the =
Middle=20
East, will be on April 25, 2009. The concert co-locates twenty =
internationally=20
renowned bassists via the internet between New York City and Jerusalem, =
streamed=20
world-wide. Project coordinators: Mark Dresser, Sarah Weaver, JC Jones, =
Barre=20
Phillips, Suzanne Thorpe. Affiliated organizations: ISIM, World =
Association of=20
Former United Nations Internes and Fellows, Electronic Music Foundation, =

International Society of Bassists. A fundraising event for the project =
will be=20
hosted at United Nations Headquarters in NYC on January 22, 2009. Please =
email=20
me <A href=3D"mailto:sarah@isimprov.org">sarah@isimprov.org</A> to =
request more=20
information.</DIV>
<DIV><BR></DIV>
<DIV>Executive Director, International Society for Improvised =
Music<BR><A=20
href=3D"http://www.isimprov.org">www.isimprov.org</A><BR><BR><BR></DIV></=
BODY></HTML>

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To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion, overdrive,fuzz,crunc
Date: Sun, 21 Dec 2008 20:04:55 -0700
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Well, you did good then!  Though you must have understood the questions =
at some fundamental level to be able to draw diagrams and get the =
answers right. It means you have good logical intuition.  Some of that =
stuff is counter-intuitive to people, such as sufficient and necessary =
conditions.=20

If p, then q (p-->q)
If p-->q, and p, then q
If p-->q, and not q, then not p
p-->q if and only if not p or q (~pvq)

p is sufficient. q is necessary. Sometimes folks will treat q as =
sufficient, or p as necessary, because it feels right.

Kris




----- Original Message -----=20

  I couldn't understand the question... had no idea which of the answers =
were true, drew little diagrams of bikes and hats, gave up, guessed.. =
and got them all right...!

  M




  On Sun, Dec 21, 2008 at 9:41 PM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    Speaking of logic, philosophy, and debating, and as a side-topic, =
years ago a logic quiz came out in Time Magazine. I took the liberty to =
convert that quiz into a webpage, here:

    http://www.krispenhartung.com/logicquiz/

    It is a lot of fun. You can click until you get the right answers, =
and at the bottom is a link that I created (not part of the original =
quiz), which explains why the answers are correct.   All of the answers =
are based on classic logic and rules of derivation - modus ponens, modus =
tolens, rules of necessary and sufficient conditions, etc   People with =
a back ground in logic, mathematics, or electrical engineering (like my =
wife), typically ace this quiz.  My wife aced it without even =
trying...must have been all that logic of gates, switches, etc, burned =
in her brain. :)

    Kris





  --=20
  www.markfrancombe.com
  http://vimeo.com/user825094
  http://uk.youtube.com/user/markfrancombe
  http://www.myspace.com/markfrancombe
  www.looop.no

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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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Well, you did good then!&nbsp; Though =
you must have=20
understood the questions&nbsp;at some fundamental level to be able to =
draw=20
diagrams&nbsp;and get the answers right. It means you have good logical=20
intuition. &nbsp;Some of that stuff is counter-intuitive to people, such =
as=20
sufficient and necessary conditions. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>If p, then q (p--&gt;q)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>If p--&gt;q, and p, then q</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>If p--&gt;q, and&nbsp;not q, then not=20
p</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>p--&gt;q&nbsp;if and only if not p or q =

(~pvq)</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>p is sufficient. q is necessary. =
Sometimes folks=20
will treat q as sufficient, or p as necessary, because it feels=20
right.</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></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
style=3D"PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; =
BORDER-LEFT: #000000 2px solid; MARGIN-RIGHT: 0px">
  <DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>I couldn't =
understand the=20
  question... had no idea which of the answers were true, drew little =
diagrams=20
  of bikes and hats, gave up, guessed.. and got them all=20
  right...!<BR><BR>M<BR><BR><BR><BR>
  <DIV class=3Dgmail_quote>On Sun, Dec 21, 2008 at 9:41 PM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Speaking=20
    of logic, philosophy, and debating, and as a side-topic, years ago a =
logic=20
    quiz came out in Time Magazine. I took the liberty to convert that =
quiz into=20
    a webpage, here:<BR><BR><A =
href=3D"http://www.krispenhartung.com/logicquiz/"=20
    =
target=3D_blank>http://www.krispenhartung.com/logicquiz/</A><BR><BR>It =
is a=20
    lot of fun. You can click until you get the right answers, and at =
the bottom=20
    is a link that I created (not part of the original quiz), which =
explains why=20
    the answers are correct. &nbsp; All of the answers are based on =
classic=20
    logic and rules of derivation - modus ponens, modus tolens, rules of =

    necessary and sufficient conditions, etc &nbsp; People with a back =
ground in=20
    logic, mathematics, or electrical engineering (like my wife), =
typically ace=20
    this quiz. &nbsp;My wife aced it without even trying...must have =
been all=20
    that logic of gates, switches, etc, burned in her brain.=20
    :)<BR><BR>Kris<BR><BR></BLOCKQUOTE></DIV><BR><BR clear=3Dall><BR>-- =
<BR><A=20
  href=3D"http://www.markfrancombe.com">www.markfrancombe.com</A><BR><A=20
  =
href=3D"http://vimeo.com/user825094">http://vimeo.com/user825094</A><BR><=
A=20
  =
href=3D"http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/u=
ser/markfrancombe</A><BR><A=20
  =
href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mark=
francombe</A><BR><A=20
  =
href=3D"http://www.looop.no">www.looop.no</A><BR></BLOCKQUOTE></BODY></HT=
ML>

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Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion, overdrive,fuzz,crunc
Date: Sun, 21 Dec 2008 20:10:03 -0700
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I use my fingers too, Mark, and I'm not the best a math, and my wife =
also does all the finances in the house, but I kicked butt in logic at =
the university and was able to convert entire paragraphs of common =
language arguments into sybolic logic and tell whether they were valid =
or not. Math and logic are releated (Russell thought one gave rise to =
the other), and being good at one doesn't mean being good at the other.=20

If I had to take an educated guess, I'd say being good at math is =
sufficient to be good at logic (M-->L), but being good at logic is not =
sufficient to be good at math, in other words, not (L-->M), which means =
that L<-->M is not true.   :)  Otherwise, everyone person I found that =
is good at logic would be good at math, which is false (me being the =
first instance).

Kris
 =20


  .. Damn... maybe I should have read Kris's mail to the end..

  ..answers are based on classic logic and rules of derivation - modus =
ponens, modus tolens, rules of necessary and sufficient conditions, etc  =
 People with a back ground in logic, mathematics, or electrical =
engineering...

  Well I failed maths at school, still use my fingers for all important =
calculations, numbers make me dizzy, (i ahve a splitting headache now =
from trying to do this quiz) and the wife does the money side of =
things... as to where I get my luck from.. really dont know, first time =
its happened...
  Got any test yer luck quizes??

  M

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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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>I use my fingers too, Mark, and I'm not the best a math, and my =
wife also=20
does all the&nbsp;finances in the house,&nbsp;but I kicked butt in logic =
at the=20
university and was able to convert entire paragraphs of common language=20
arguments into sybolic logic and tell whether they were valid or not. =
Math and=20
logic are releated (Russell thought one gave rise to the other), and =
being good=20
at one doesn't mean being good at the other. </DIV>
<DIV>&nbsp;</DIV>
<DIV>If I had to take an educated&nbsp;guess, I'd say being good at math =
is=20
sufficient to be good at logic (M--&gt;L), but being good at logic is =
not=20
sufficient to be good at math, in other words, not (L--&gt;M), which =
means that=20
L&lt;--&gt;M is not true.&nbsp;&nbsp; :)&nbsp; Otherwise, everyone =
person I=20
found that is good at logic would be good at math, which is false (me =
being the=20
first instance).</DIV>
<DIV>&nbsp;</DIV>
<DIV>Kris</DIV>
<DIV>&nbsp; </DIV>
<BLOCKQUOTE=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"><BR>&nbsp;</DIV>..=20
  Damn... maybe I should have read Kris's mail to the =
end..<BR><BR>..answers are=20
  based on classic logic and rules of derivation - modus ponens, modus =
tolens,=20
  rules of necessary and sufficient conditions, etc &nbsp; People with a =
back=20
  ground in logic, mathematics, or electrical engineering...<BR><BR>Well =
I=20
  failed maths at school, still use my fingers for all important =
calculations,=20
  numbers make me dizzy, (i ahve a splitting headache now from trying to =
do this=20
  quiz) and the wife does the money side of things... as to where I get =
my luck=20
  from.. really dont know, first time its happened...<BR>Got any test =
yer luck=20
  quizes??<BR><BR>M<BR></BLOCKQUOTE></BODY></HTML>

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Subject: Re: DISAGREEMENTS and THIS LIST was: Re: distortion, overdrive,fuzz,crunc
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On Sun, Dec 21, 2008 at 2:53 PM, Krispen Hartung <info@krispenhartung.com>w=
rote:


> Understood, man.  Hey, there is a reason why Socrates was put to death by
> drinking hemlock :)   You can only piss off the status quo for so long
> without it coming back to bight you on the ass.
>
> Sidenote for Optional Reading: For me, my bachelor's degree in philosophy
> changed my life permanently, sometimes for the good, sometimes for worse.=
  I
> basically took a vow to myself that I would always question, always searc=
h
> for answers, and never be satisfied with anything that couldn't withstand
> the test of reason. And so logic, rhetoric, and an understanding of logic=
al
> fallacies are my working tools.  And it really isn't personal. This is a
> peculiar thing about philosophy majors....they can engage in very heated
> debate, which makes outsiders feel very uncomfortable and think they are
> fighting personally, but then after the debate, they laugh and go off and
> have a beer together.


I may check the test out later, but I'm really tired and have to work out m=
y
damned arm . . .

But I get the S-method (and electronics).  I just don't have enough time in
my day to begin with; then I start reading a favorite e-list, find an
intersting first post, then watch it wander off into tangential meanderings
which seem mostly counter-topic and contentious.  Really man . . . hiding
behind our distortions????  Yeah, that IS provocative, I'll grant you that.
*-)  Good one . . . stirred some real shit there.

Anyway=97We got another GOO topic going that more closely addresses the int=
ent
of Bill's first post, so that's cool, but damn man . . . all I'm saying is
maybe there's a time and a place for the big debate-a-thon?  A similar
oppositional system is also the foundation of our legal system, and I reall=
y
hate that setup as well=97it does a LOT of damage to innocent people.  Migh=
t
the Socratic method be only one of many possible lines of discourse?  I dig
logic, I just don't like being beaten down with it at every turn in the
road.  It IS nothing personal, but we do come at things from opposite angle=
s
it seems, so excuse me if it seems that way.  I'll try to understand where
you're coming from though and hope the community understands where we're
BOTH coming from.  Peace?  -m

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On Sun, Dec 21, 2008 at 2:53 PM, Krispen Hartung <span dir=3D"ltr">&lt;<a h=
ref=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</spa=
n> wrote:<br><div class=3D"gmail_quote"><div>&nbsp;</div><blockquote class=
=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); margin=
: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Understood, man. &nbsp;Hey, there is a reason why Socrates was put to death=
 by drinking hemlock :) &nbsp; You can only piss off the status quo for so =
long without it coming back to bight you on the ass.<br>
<br>
Sidenote for Optional Reading: For me, my bachelor&#39;s degree in philosop=
hy changed my life permanently, sometimes for the good, sometimes for worse=
. &nbsp;I basically took a vow to myself that I would always question, alwa=
ys search for answers, and never be satisfied with anything that couldn&#39=
;t withstand the test of reason. And so logic, rhetoric, and an understandi=
ng of logical fallacies are my working tools. &nbsp;And it really isn&#39;t=
 personal. This is a peculiar thing about philosophy majors....they can eng=
age in very heated debate, which makes outsiders feel very uncomfortable an=
d think they are fighting personally, but then after the debate, they laugh=
 and go off and have a beer together. </blockquote>
<div><br>I may check the test out later, but I&#39;m really tired and have =
to work out my damned arm . . . <br><br>But I get the S-method (and electro=
nics).&nbsp; I just don&#39;t have enough time in my day to begin with; the=
n I start reading a favorite e-list, find an intersting first post, then wa=
tch it wander off into tangential meanderings which seem mostly counter-top=
ic and contentious.&nbsp; Really man . . . hiding behind our distortions???=
?&nbsp; Yeah, that IS provocative, I&#39;ll grant you that. *-)&nbsp; Good =
one . . . stirred some real shit there.<br>
<br>Anyway=97We got another GOO topic going that more closely addresses the=
 intent of Bill&#39;s first post, so that&#39;s cool, but damn man . . . al=
l I&#39;m saying is maybe there&#39;s a time and a place for the big debate=
-a-thon?&nbsp; A similar oppositional system is also the foundation of our =
legal system, and I really hate that setup as well=97it does a LOT of damag=
e to innocent people.&nbsp; Might the Socratic method be only one of many p=
ossible lines of discourse?&nbsp; I dig logic, I just don&#39;t like being =
beaten down with it at every turn in the road.&nbsp; It IS nothing personal=
, but we do come at things from opposite angles it seems, so excuse me if i=
t seems that way.&nbsp; I&#39;ll try to understand where you&#39;re coming =
from though and hope the community understands where we&#39;re BOTH coming =
from.&nbsp; Peace?&nbsp; -m<br>
 </div></div>

------=_Part_47661_27118052.1229915580273--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 03:13:08 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <7334ca1b0812211806ufdbf68bg93cd5f69a0dbf4ba@mail.gmail.com>
Subject: =?iso-8859-1?Q?Re:_Release_Notice:_Rainer_Straschill_-_=22Wie_gro=DF_ist_?=
	=?iso-8859-1?Q?die_Luft_=3F=22?=
Date: Sun, 21 Dec 2008 20:13:04 -0700
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Das ist ausgezeichnet!  I will buy a copy now.   Rainer, do you have the =
CD graphics on your web somewhere?

Kris

  ----- Original Message -----=20


  Rainer Straschill
  Wie gro=DF ist die Luft ?


  2008 - in Rainer Straschill's musical cosmos, the year of the 2008 =
MoinSound World Tour, which featured next to stations in three =
countries, on two continents, in different festivals (among them =
headlining the bodacious Boise Experimental Music Festival 3) and again =
in cyberspace primarily one thing: the triumphant return of the concert =
trombone to the instrument choice of Straschill, completed only by weird =
vocal noises and his signature "komische Elektronik" (which can only =
inadequately be translated to "whimsical electronics").

  The album Wie gro=DF ist die Luft ? (German for "How big is the air?") =
documents different performances from this programme. Indeed, to make it =
even more interesting, completed by spontaneously added guest musicians: =
during the 2nd Live Looping Festival Berlin gig, it was TJ Shredder, who =
let his even more whimsical electronics (a.k.a "Ondes Memorielles") =
loose on a Straschill performing purely acoustically. The second evening =
of the BEMF3 main festival found Straschill joined by Motoko Honda =
(grand piano) and Krispen Hartung (without any electronics, but with =
acoustic guitar), himself well-known from Straschill's surroundings.

  But how does it sound? A short description: odd, and sometimes =
surprising. The slightly longer one: surprising insofar, as there are =
quite lyrical passages to be admired. And the even longer one: "Writing =
about music is like dancing about architecture" - for which reason I'll =
just point to the work of art:

  For the first time ever, there's a Straschill-CD available for online =
order! And independently, the online listeners won't be disappointed.

  So stop sitting around! Listen to it. And great holidays to all of =
you!

  ---
  http://moinlabs.de
  http://www.myspace.com/moinlabs
  http://video.google.de/videosearch?q=3Dmoinlabs
  http://www.jamendo.com/en/artist/straschill/
  http://Kunaki.com/MSales.asp?PublisherId=3D117329


------=_NextPart_000_04C1_01C963A8.8836D440
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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Das ist ausgezeichnet!&nbsp; I will buy =
a copy=20
now.&nbsp;&nbsp; Rainer, do you have the CD graphics on your web=20
somewhere?</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV>&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><FONT face=3DArial color=3D#808080 size=3D4><SPAN=20
  class=3D640263323-21122008><STRONG>Rainer=20
Straschill</STRONG></SPAN></FONT></DIV>
  <DIV><FONT face=3DArial size=3D6><SPAN =
class=3D640263323-21122008><STRONG>Wie gro=DF=20
  ist die Luft ?<BR></STRONG></SPAN></FONT>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial =
size=3D2><BR>2008 - in=20
  Rainer Straschill's musical cosmos, the year of the <STRONG>2008 =
MoinSound=20
  World Tour</STRONG>, which featured next to stations in three =
countries, on=20
  two continents, in different festivals (among them headlining the =
bodacious <A=20
  title=3Dhttp://www.krispenhartung.com/BEMF-3/=20
  href=3D"http://www.krispenhartung.com/BEMF-3/">Boise Experimental =
Music Festival=20
  3</A>) and again in cyberspace primarily one thing: the triumphant =
return of=20
  the concert trombone to the instrument choice of Straschill, completed =
only by=20
  weird vocal noises and his signature "komische Elektronik" (which can =
only=20
  inadequately be translated to "whimsical =
electronics").</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>The =
album=20
  <STRONG>Wie gro=DF ist die Luft ? </STRONG>(German for "How big is the =
air?")=20
  documents different performances from this programme. Indeed, to make =
it even=20
  more interesting, completed by spontaneously added guest musicians: =
during the=20
  <A title=3Dhttp://www.myspace.com/liveloopingfestivalberlin=20
  href=3D"http://www.myspace.com/liveloopingfestivalberlin">2nd Live =
Looping=20
  Festival Berlin</A> gig, it was TJ Shredder, who let his even more =
whimsical=20
  electronics (a.k.a "Ondes Memorielles") loose on a Straschill =
performing=20
  purely acoustically. The second evening of the BEMF3 main =
festival&nbsp;found=20
  Straschill joined by&nbsp;Motoko Honda (grand piano) and Krispen =
Hartung=20
  (without any electronics, but with acoustic guitar), himself =
well-known from=20
  Straschill's surroundings.</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>But =
how does it=20
  sound? A short description: odd, and sometimes surprising. The =
slightly longer=20
  one: surprising insofar, as there are quite lyrical passages to be =
admired.=20
  And the even longer one: "Writing about music is like dancing about=20
  architecture" - for which reason I'll just point to the work of=20
  art:</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>For =
the first time=20
  ever, there's a <A =
title=3Dhttp://kunaki.com/Sales.asp?PID=3DPX00ZC35CT=20
  href=3D"http://kunaki.com/Sales.asp?PID=3DPX00ZC35CT"><STRONG=20
  title=3Dhttp://kunaki.com/Sales.asp?PID=3DPX00ZC35CT>Straschill-CD =
available for=20
  online order!</STRONG></A><STRONG> </STRONG>And independently, the <A=20
  title=3Dhttp://www.jamendo.com/en/album/36542?refuid=3D145131=20
  href=3D"http://www.jamendo.com/en/album/36542?refuid=3D145131">online=20
  listeners</A>&nbsp;won't be disappointed.</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>So =
stop sitting=20
  around! Listen to it. And great holidays to all of =
you!</FONT></SPAN></DIV>
  <DIV>&nbsp;</DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2>---</FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A =
title=3Dhttp://moinlabs.de/=20
  href=3D"http://moinlabs.de/">http://moinlabs.de</A></FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A=20
  title=3Dhttp://www.myspace.com/moinlabs=20
  =
href=3D"http://www.myspace.com/moinlabs">http://www.myspace.com/moinlabs<=
/A></FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A=20
  title=3Dhttp://video.google.de/videosearch?q=3Dmoinlabs=20
  =
href=3D"http://video.google.de/videosearch?q=3Dmoinlabs">http://video.goo=
gle.de/videosearch?q=3Dmoinlabs</A></FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A=20
  title=3Dhttp://www.jamendo.com/en/artist/straschill/=20
  =
href=3D"http://www.jamendo.com/en/artist/straschill/">http://www.jamendo.=
com/en/artist/straschill/</A></FONT><SPAN=20
  class=3Dattribute-value=20
  title=3Dhttp://www.jamendo.com/en/artist/straschill/></SPAN></DIV>
  <DIV align=3Dleft><SPAN class=3Dattribute-value><FONT face=3DArial =
size=3D2><A=20
  title=3Dhttp://Kunaki.com/MSales.asp?PublisherId=3D117329=20
  =
href=3D"http://kunaki.com/MSales.asp?PublisherId=3D117329">http://Kunaki.=
com/MSales.asp?PublisherId=3D117329</A></FONT></SPAN></DIV><BR></DIV></BL=
OCKQUOTE></BODY></HTML>

------=_NextPart_000_04C1_01C963A8.8836D440--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 03:16:50 2008
Return-Path: <Loopers-Delight-request@loopers-delight.com>
X-Original-To: looparc@loopers-delight.com
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	id 31EFC3BE86; Mon, 22 Dec 2008 03:16:50 +0000 (UTC)
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From: "Krispen Hartung" <info@krispenhartung.com>
To: <Loopers-Delight@loopers-delight.com>
References: <7334ca1b0812211806ufdbf68bg93cd5f69a0dbf4ba@mail.gmail.com>
Subject: =?iso-8859-1?Q?Re:_Release_Notice:_Rainer_Straschill_-_=22Wie_gro=DF_ist_?=
	=?iso-8859-1?Q?die_Luft_=3F=22?=
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Just bought it...hopefully I am your first buyer.  Glad to see you using =
Kunaki. I have turned a lot of people on to that service, and I think it =
is just outstanding.=20

Kris

  ----- Original Message -----=20


  Rainer Straschill
  Wie gro=DF ist die Luft ?


  2008 - in Rainer Straschill's musical cosmos, the year of the 2008 =
MoinSound World Tour, which featured next to stations in three =
countries, on two continents, in different festivals (among them =
headlining the bodacious Boise Experimental Music Festival 3) and again =
in cyberspace primarily one thing: the triumphant return of the concert =
trombone to the instrument choice of Straschill, completed only by weird =
vocal noises and his signature "komische Elektronik" (which can only =
inadequately be translated to "whimsical electronics").

  The album Wie gro=DF ist die Luft ? (German for "How big is the air?") =
documents different performances from this programme. Indeed, to make it =
even more interesting, completed by spontaneously added guest musicians: =
during the 2nd Live Looping Festival Berlin gig, it was TJ Shredder, who =
let his even more whimsical electronics (a.k.a "Ondes Memorielles") =
loose on a Straschill performing purely acoustically. The second evening =
of the BEMF3 main festival found Straschill joined by Motoko Honda =
(grand piano) and Krispen Hartung (without any electronics, but with =
acoustic guitar), himself well-known from Straschill's surroundings.

  But how does it sound? A short description: odd, and sometimes =
surprising. The slightly longer one: surprising insofar, as there are =
quite lyrical passages to be admired. And the even longer one: "Writing =
about music is like dancing about architecture" - for which reason I'll =
just point to the work of art:

  For the first time ever, there's a Straschill-CD available for online =
order! And independently, the online listeners won't be disappointed.

  So stop sitting around! Listen to it. And great holidays to all of =
you!

  ---
  http://moinlabs.de
  http://www.myspace.com/moinlabs
  http://video.google.de/videosearch?q=3Dmoinlabs
  http://www.jamendo.com/en/artist/straschill/
  http://Kunaki.com/MSales.asp?PublisherId=3D117329


------=_NextPart_000_04C7_01C963A9.0C4437F0
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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 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Just bought it...hopefully I am your =
first=20
buyer.&nbsp; Glad to see you using Kunaki. I have turned a lot of people =
on to=20
that service, and I think it is just outstanding. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</FONT></DIV>
<DIV>&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><FONT face=3DArial color=3D#808080 size=3D4><SPAN=20
  class=3D640263323-21122008><STRONG>Rainer=20
Straschill</STRONG></SPAN></FONT></DIV>
  <DIV><FONT face=3DArial size=3D6><SPAN =
class=3D640263323-21122008><STRONG>Wie gro=DF=20
  ist die Luft ?<BR></STRONG></SPAN></FONT>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial =
size=3D2><BR>2008 - in=20
  Rainer Straschill's musical cosmos, the year of the <STRONG>2008 =
MoinSound=20
  World Tour</STRONG>, which featured next to stations in three =
countries, on=20
  two continents, in different festivals (among them headlining the =
bodacious <A=20
  title=3Dhttp://www.krispenhartung.com/BEMF-3/=20
  href=3D"http://www.krispenhartung.com/BEMF-3/">Boise Experimental =
Music Festival=20
  3</A>) and again in cyberspace primarily one thing: the triumphant =
return of=20
  the concert trombone to the instrument choice of Straschill, completed =
only by=20
  weird vocal noises and his signature "komische Elektronik" (which can =
only=20
  inadequately be translated to "whimsical =
electronics").</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>The =
album=20
  <STRONG>Wie gro=DF ist die Luft ? </STRONG>(German for "How big is the =
air?")=20
  documents different performances from this programme. Indeed, to make =
it even=20
  more interesting, completed by spontaneously added guest musicians: =
during the=20
  <A title=3Dhttp://www.myspace.com/liveloopingfestivalberlin=20
  href=3D"http://www.myspace.com/liveloopingfestivalberlin">2nd Live =
Looping=20
  Festival Berlin</A> gig, it was TJ Shredder, who let his even more =
whimsical=20
  electronics (a.k.a "Ondes Memorielles") loose on a Straschill =
performing=20
  purely acoustically. The second evening of the BEMF3 main =
festival&nbsp;found=20
  Straschill joined by&nbsp;Motoko Honda (grand piano) and Krispen =
Hartung=20
  (without any electronics, but with acoustic guitar), himself =
well-known from=20
  Straschill's surroundings.</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>But =
how does it=20
  sound? A short description: odd, and sometimes surprising. The =
slightly longer=20
  one: surprising insofar, as there are quite lyrical passages to be =
admired.=20
  And the even longer one: "Writing about music is like dancing about=20
  architecture" - for which reason I'll just point to the work of=20
  art:</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>For =
the first time=20
  ever, there's a <A =
title=3Dhttp://kunaki.com/Sales.asp?PID=3DPX00ZC35CT=20
  href=3D"http://kunaki.com/Sales.asp?PID=3DPX00ZC35CT"><STRONG=20
  title=3Dhttp://kunaki.com/Sales.asp?PID=3DPX00ZC35CT>Straschill-CD =
available for=20
  online order!</STRONG></A><STRONG> </STRONG>And independently, the <A=20
  title=3Dhttp://www.jamendo.com/en/album/36542?refuid=3D145131=20
  href=3D"http://www.jamendo.com/en/album/36542?refuid=3D145131">online=20
  listeners</A>&nbsp;won't be disappointed.</FONT></SPAN></DIV>
  <DIV><SPAN class=3D640263323-21122008></SPAN>&nbsp;</DIV>
  <DIV><SPAN class=3D640263323-21122008><FONT face=3DArial size=3D2>So =
stop sitting=20
  around! Listen to it. And great holidays to all of =
you!</FONT></SPAN></DIV>
  <DIV>&nbsp;</DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2>---</FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A =
title=3Dhttp://moinlabs.de/=20
  href=3D"http://moinlabs.de/">http://moinlabs.de</A></FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A=20
  title=3Dhttp://www.myspace.com/moinlabs=20
  =
href=3D"http://www.myspace.com/moinlabs">http://www.myspace.com/moinlabs<=
/A></FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A=20
  title=3Dhttp://video.google.de/videosearch?q=3Dmoinlabs=20
  =
href=3D"http://video.google.de/videosearch?q=3Dmoinlabs">http://video.goo=
gle.de/videosearch?q=3Dmoinlabs</A></FONT></DIV>
  <DIV align=3Dleft><FONT face=3DArial size=3D2><A=20
  title=3Dhttp://www.jamendo.com/en/artist/straschill/=20
  =
href=3D"http://www.jamendo.com/en/artist/straschill/">http://www.jamendo.=
com/en/artist/straschill/</A></FONT><SPAN=20
  class=3Dattribute-value=20
  title=3Dhttp://www.jamendo.com/en/artist/straschill/></SPAN></DIV>
  <DIV align=3Dleft><SPAN class=3Dattribute-value><FONT face=3DArial =
size=3D2><A=20
  title=3Dhttp://Kunaki.com/MSales.asp?PublisherId=3D117329=20
  =
href=3D"http://kunaki.com/MSales.asp?PublisherId=3D117329">http://Kunaki.=
com/MSales.asp?PublisherId=3D117329</A></FONT></SPAN></DIV><BR></DIV></BL=
OCKQUOTE></BODY></HTML>

------=_NextPart_000_04C7_01C963A9.0C4437F0--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 03:42:48 2008
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From: "Krispen Hartung" <info@krispenhartung.com>
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Subject: eMusic Anyone?
Date: Sun, 21 Dec 2008 20:42:45 -0700
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Is anyone subscribing to monthly downloads from eMusic? I have been for 
several months now and just love it. I have some really far out improv music 
in my collection because of that service.  I was wondering if anyone wanted 
to exchanged playlists?

I can't quite figure out how to find a user on eMusic, except by finding a 
CD, and then seeing who has it on their playlist. Apparently, you can make 
somone your friend...but it still escapes me.  I can't search for anyone.

Anway, my username is krispen.  Below is my current list of downloads. If 
you know of anything in the similar category or feel, let me know and I will 
ad them to my wishlist.

Kris Hartung
www.krispenhartung.com
info@krispenhartung.com
1-208-724-5603

New York Eye And ...
by Albert Ayler

 Pakistani Pomade
by Alexander Von Sch...

 Six Compositions ...
by Anthony Braxton

2 + 2 Compositions
by Anthony Braxton /...

Object 1
by Axel Dorner And F...

 Bone Structure
by Bendian / Gauthie...

Pursuit
by Benoît Delbecq

 Verbatim, Flesh a...
by Bob Ostertag

 Guerrilla Mosaics
by Butcher / Masaoka...

Wisdom of Uncerta...
by David S. Ware

Barcelona
by Derek Bailey And ...

The Science Set
by Derek Bailey, Gre...

 Improvisations
by Etienne Brunet/Fr...

The German Horse
by Eugene Chadbourne

A Glancing Blow
by Evan Parker

 New excursions
by Evan Parker

Fluvine
by Fernando Grillo


Back At The Velve...
by Fred Anderson

Die blaue Nixe
by Gebhard Ullmann /...

Mumbo Jumbo
by Jim Staley

ANKER / CRISPELL ...
by Lotte Anker

The Art of Improv...
by Min Xiao-Fen/Denm...

Streaming
by Muhal Richard Abr...

Interstellar Spac...
by Nels Cline And Gr...

Sound Grammar
by Ornette Coleman

Synapsis
by Oskar Aichinger

Breaths And Heart...
by Parker.Guy.Lytton...

Born Broke
by Peter Brotzmann

Circulations
by Pierre-yves Macé

 The Psyche
by Revolutionary Ens...

Quartet
by Roscoe Mitchell

Backwards
by Scott Tinkler

The Peter Evans Q...
by The Peter Evans Q...
 

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 04:01:01 2008
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Date: Sun, 21 Dec 2008 23:00:59 -0500
From: sonascope|media <sonascope@gmail.com>
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To: Loopers-Delight@loopers-delight.com
Subject: Re: special sauce, secret goo
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------=_Part_61386_12039253.1229918459369
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Howdy, I've been lurking for some time, but haven't posted anything. This i=
s
a favorite topic of mine, the secret weapon armory, so now's as good a time
as ever.

My "secret goo," as they say, is the Nord Micro Modular, which is just abou=
t
the best little FX construction set ever. They're out of production now,
replaced by the superb, but too expensive (for me) G2 Engine, but they were
really the best processor ever, with a few notable shortcomings. They're no=
t
that good for classical distortion effects, and don't do delay (the G2
apparently fixes that one), but being able to just patch together crazy
LFO/envelope/random/sequenced filters and tremelos and ring modulators and
lots more like sonic Legos is just joyous. I've got a Ehx Stereo Memory Man
to fill in the delay gap, and then it all goes into a Repeater. I'm usually
more of a synth guy, but I've been playing with this crappy guitar I was
given, and it's amazing how the Nord can make almost any sound source into
something lush and worthwhile=97true goo, there.

Joe Wall
http://vimeo.com/2451641 (a video of a relatively low-key jam with my rig)

------=_Part_61386_12039253.1229918459369
Content-Type: text/html; charset=WINDOWS-1252
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Howdy, I&#39;ve been lurking for some time, but haven&#39;t posted anything=
. This is a favorite topic of mine, the secret weapon armory, so now&#39;s =
as good a time as ever.<br><br>My &quot;secret goo,&quot; as they say, is t=
he Nord Micro Modular, which is just about the best little FX construction =
set ever. They&#39;re out of production now, replaced by the superb, but to=
o expensive (for me) G2 Engine, but they were really the best processor eve=
r, with a few notable shortcomings. They&#39;re not that good for classical=
 distortion effects, and don&#39;t do delay (the G2 apparently fixes that o=
ne), but being able to just patch together crazy LFO/envelope/random/sequen=
ced filters and tremelos and ring modulators and lots more like sonic Legos=
 is just joyous. I&#39;ve got a Ehx Stereo Memory Man to fill in the delay =
gap, and then it all goes into a Repeater. I&#39;m usually more of a synth =
guy, but I&#39;ve been playing with this crappy guitar I was given, and it&=
#39;s amazing how the Nord can make almost any sound source into something =
lush and worthwhile=97true goo, there.<br>
<br>Joe Wall<br><a href=3D"http://vimeo.com/2451641">http://vimeo.com/24516=
41</a> (a video of a relatively low-key jam with my rig)<br>

------=_Part_61386_12039253.1229918459369--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 04:33:31 2008
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Message-ID: <588ce11d0812212033p2672d13v80c5ad14483df6b@mail.gmail.com>
Date: Sun, 21 Dec 2008 20:33:29 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: eMusic Anyone?
In-Reply-To: <BLU0-SMTP4631FED40F42146C7AD14ADCEF0@phx.gbl>
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I'm not a fan of the subscription idea, but emusic.com is my favorite
site for buying mp3 downloads. My username is simart. Here are some I
think are very good:

"Roam the Hello Clouds" "Near Misses"
Inventive, cerebral electronic jazz improv--I can't recommend it
highly enough, this might be my favorite album of the 21st century

"The Cinematic Orchestra" "Motion" and "Every Day"
laptop jazz, not experimental like Roam the Hello Clouds, but very
well done IMHO, great stuff!

"Debashish Bhattacharya" "Calcutta Chronicles"
Indian Slide Guitar, Carnatic Guitar Music! Found him through Bob Brotzman

"Paul Dresher" "This Same Temple"
Classic guitar looping

"Karl Hector & The Malcouns" "Sahara Swing"
God I love this one! Sounds kind of like "Ere Mela Mela," that mid
70's African music that was influenced by Miles Davis, with some
modern electronica elements

"Joe Henderson Featuring Alice Coltrane: The Elements"
Great Spiritual Jazz from the 70s

"Cuong Vu" "Bound" and "Come Play with Me"
Challenging Grooves

"The Core" "Blue Sky" and "Vision"
 Hard angular swinging post bop quartet from Norway

"Supersilent" "6"
I'm still getting my head around this Norwegian Free Death Jazz
electronic improv thing



On Sun, Dec 21, 2008 at 7:42 PM, Krispen Hartung
<info@krispenhartung.com> wrote:
> Is anyone subscribing to monthly downloads from eMusic? I have been for
> several months now and just love it. I have some really far out improv mu=
sic
> in my collection because of that service.  I was wondering if anyone want=
ed
> to exchanged playlists?
>
> I can't quite figure out how to find a user on eMusic, except by finding =
a
> CD, and then seeing who has it on their playlist. Apparently, you can mak=
e
> somone your friend...but it still escapes me.  I can't search for anyone.
>
> Anway, my username is krispen.  Below is my current list of downloads. If
> you know of anything in the similar category or feel, let me know and I w=
ill
> ad them to my wishlist.
>
> Kris Hartung
> www.krispenhartung.com
> info@krispenhartung.com
> 1-208-724-5603
>
> New York Eye And ...
> by Albert Ayler
>
> Pakistani Pomade
> by Alexander Von Sch...
>
> Six Compositions ...
> by Anthony Braxton
>
> 2 + 2 Compositions
> by Anthony Braxton /...
>
> Object 1
> by Axel Dorner And F...
>
> Bone Structure
> by Bendian / Gauthie...
>
> Pursuit
> by Beno=C3(R)t Delbecq
>
> Verbatim, Flesh a...
> by Bob Ostertag
>
> Guerrilla Mosaics
> by Butcher / Masaoka...
>
> Wisdom of Uncerta...
> by David S. Ware
>
> Barcelona
> by Derek Bailey And ...
>
> The Science Set
> by Derek Bailey, Gre...
>
> Improvisations
> by Etienne Brunet/Fr...
>
> The German Horse
> by Eugene Chadbourne
>
> A Glancing Blow
> by Evan Parker
>
> New excursions
> by Evan Parker
>
> Fluvine
> by Fernando Grillo
>
>
> Back At The Velve...
> by Fred Anderson
>
> Die blaue Nixe
> by Gebhard Ullmann /...
>
> Mumbo Jumbo
> by Jim Staley
>
> ANKER / CRISPELL ...
> by Lotte Anker
>
> The Art of Improv...
> by Min Xiao-Fen/Denm...
>
> Streaming
> by Muhal Richard Abr...
>
> Interstellar Spac...
> by Nels Cline And Gr...
>
> Sound Grammar
> by Ornette Coleman
>
> Synapsis
> by Oskar Aichinger
>
> Breaths And Heart...
> by Parker.Guy.Lytton...
>
> Born Broke
> by Peter Brotzmann
>
> Circulations
> by Pierre-yves Mac=E9
>
> The Psyche
> by Revolutionary Ens...
>
> Quartet
> by Roscoe Mitchell
>
> Backwards
> by Scott Tinkler
>
> The Peter Evans Q...
> by The Peter Evans Q...
>
>
>



--=20
Art Simon
simart@null.net
myspace [dot] com/artsimon

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 04:51:30 2008
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Subject: Re: eMusic Anyone?
Date: Sun, 21 Dec 2008 21:51:27 -0700
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Thanks, Simon.

Kris

----- Original Message ----- 
I'm not a fan of the subscription idea, but emusic.com is my favorite
site for buying mp3 downloads. My username is simart. Here are some I
think are very good:

"Roam the Hello Clouds" "Near Misses"
Inventive, cerebral electronic jazz improv--I can't recommend it
highly enough, this might be my favorite album of the 21st century

"The Cinematic Orchestra" "Motion" and "Every Day"
laptop jazz, not experimental like Roam the Hello Clouds, but very
well done IMHO, great stuff!

"Debashish Bhattacharya" "Calcutta Chronicles"
Indian Slide Guitar, Carnatic Guitar Music! Found him through Bob Brotzman

"Paul Dresher" "This Same Temple"
Classic guitar looping

"Karl Hector & The Malcouns" "Sahara Swing"
God I love this one! Sounds kind of like "Ere Mela Mela," that mid
70's African music that was influenced by Miles Davis, with some
modern electronica elements

"Joe Henderson Featuring Alice Coltrane: The Elements"
Great Spiritual Jazz from the 70s

"Cuong Vu" "Bound" and "Come Play with Me"
Challenging Grooves

"The Core" "Blue Sky" and "Vision"
 Hard angular swinging post bop quartet from Norway

"Supersilent" "6"
I'm still getting my head around this Norwegian Free Death Jazz
electronic improv thing



On Sun, Dec 21, 2008 at 7:42 PM, Krispen Hartung
<info@krispenhartung.com> wrote:
> Is anyone subscribing to monthly downloads from eMusic? I have been for
> several months now and just love it. I have some really far out improv 
> music
> in my collection because of that service.  I was wondering if anyone 
> wanted
> to exchanged playlists?
>
> I can't quite figure out how to find a user on eMusic, except by finding a
> CD, and then seeing who has it on their playlist. Apparently, you can make
> somone your friend...but it still escapes me.  I can't search for anyone.
>
> Anway, my username is krispen.  Below is my current list of downloads. If
> you know of anything in the similar category or feel, let me know and I 
> will
> ad them to my wishlist.
>
> Kris Hartung
> www.krispenhartung.com
> info@krispenhartung.com
> 1-208-724-5603
>
> New York Eye And ...
> by Albert Ayler
>
> Pakistani Pomade
> by Alexander Von Sch...
>
> Six Compositions ...
> by Anthony Braxton
>
> 2 + 2 Compositions
> by Anthony Braxton /...
>
> Object 1
> by Axel Dorner And F...
>
> Bone Structure
> by Bendian / Gauthie...
>
> Pursuit
> by BenoÃ(R)t Delbecq
>
> Verbatim, Flesh a...
> by Bob Ostertag
>
> Guerrilla Mosaics
> by Butcher / Masaoka...
>
> Wisdom of Uncerta...
> by David S. Ware
>
> Barcelona
> by Derek Bailey And ...
>
> The Science Set
> by Derek Bailey, Gre...
>
> Improvisations
> by Etienne Brunet/Fr...
>
> The German Horse
> by Eugene Chadbourne
>
> A Glancing Blow
> by Evan Parker
>
> New excursions
> by Evan Parker
>
> Fluvine
> by Fernando Grillo
>
>
> Back At The Velve...
> by Fred Anderson
>
> Die blaue Nixe
> by Gebhard Ullmann /...
>
> Mumbo Jumbo
> by Jim Staley
>
> ANKER / CRISPELL ...
> by Lotte Anker
>
> The Art of Improv...
> by Min Xiao-Fen/Denm...
>
> Streaming
> by Muhal Richard Abr...
>
> Interstellar Spac...
> by Nels Cline And Gr...
>
> Sound Grammar
> by Ornette Coleman
>
> Synapsis
> by Oskar Aichinger
>
> Breaths And Heart...
> by Parker.Guy.Lytton...
>
> Born Broke
> by Peter Brotzmann
>
> Circulations
> by Pierre-yves Macé
>
> The Psyche
> by Revolutionary Ens...
>
> Quartet
> by Roscoe Mitchell
>
> Backwards
> by Scott Tinkler
>
> The Peter Evans Q...
> by The Peter Evans Q...
>
>
>



-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon


From s0e25r@eircom.net  Mon Dec 22 07:11:12 2008
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From: "Sylves Usman" <s0e25r@eircom.net>
Reply-To: <benzongo01@gmail.com>
To: .
Subject: URGENT ATTENTION BOA BANK
Date: Mon, 22 Dec 2008 07:03:32 +0000
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FROM THE DESK OF MR.BEN ZONGO. 
DIRECTOR IN CHARGE OF AUDITING 
AND ACCOUNTING SECTION 
BANK OF AFRICA (B.O.A) 
OUAGADOUGOU, BURKINA FASO,  
WEST AFRICA. 
TELEPHONE :+226 71 34 45 00. 
REPLY VIA: benzongo01@gmail.com
                         
Dear Friend,       
 
STRICTLY CONFIDENTIAL 

I know that this mail will come to you as a surprise as we never met before. I am the Director in charge of Auditing section of Bank of African(B.O.A).
 
I Hoped that you will not expose or betray this trust and confident that I am about to repose on you for the mutual benefit of our both families. I need your urgent assistance in transferring the sum of Twenty-Two Million and Six Hundred Thousand united state dollars ($22.6 mUSD) Immediately to your account. 
 
The fund has been dormant (in-active) for 10 years in our Bank here without any body coming for it. I want to release the fund to you as the nearest person to our deceased customer (the owner of the account) who died a long with his supposed next of kin in air crash since on February 16, 1998. I don't want the fund to go into our Bank treasury as an abandoned fund, so this is the reason why I contacted you, so that my Bank will release the fund to you as the nearest person to the deceased customer. 
 
Please I would like you to keep this proposal as a top secret and delete it if you are not interested. Upon receipt of your reply, I will send you the application form you will fill and send to the bank for transfer of the fund into your bank account and also note that you will have 40% of the above mentioned amount if you agree to help me execute this business. And also 10% had been mapped out for you for the expense you will make in this transaction and 50% is for me. I need you information so that I will send you the application form.           
                
YOUR FULL INFORMATIONS    

YOUR NAME.
YOUR HOME ADDRESSES.
CITY.
COUNTRY.
HOME TELEPHONE.
PRIVATE TELEPHONE.
FAX NO.
MARITAL STATUS. 
AGE.
OCCUPATION.
RELIGION.
 
Waiting for your urgent call so that we will starts immediately. 
 
REPLY VIA: benzongo01@gmail.com
Best Regards, 
Mr.Ben Zongo. 
TEL: +226 71 34 45 00
 
  




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From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 08:34:24 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: special sauce, secret goo
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Yezzzzz this remains my ol time favorite i even bought a second one!

> I absolutely LOVE my Prescription Experience as a straight
> fuzz; 


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 09:31:38 2008
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Date: Mon, 22 Dec 2008 10:31:37 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Re: special sauce, secret goo
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> My "secret goo," as they say, is the Nord Micro Modular, which is just
about the best little FX construction set ever.

I second that! And let's not forget it's also a synth, so you can get a lot
of mileage out of it playing it with a PS5 data glove generating MIDI
data...

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&gt; My &quot;secret goo,&quot; as they say, is the Nord Micro Modular, which is just about the best little FX construction set ever.<br><br>I second that! And let&#39;s not forget it&#39;s also a synth, so you can get a lot of mileage out of it playing it with a PS5 data glove generating MIDI data...<br>

------=_Part_71445_5422663.1229938297433--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 09:50:51 2008
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Date: Mon, 22 Dec 2008 09:43:53 +0000
From: Os <os@collective.co.uk>
Sender: expertsleepers@googlemail.com
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Subject: Re: eMusic Anyone?
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I very recently signed up (as 'expertsleepers'), and am liking it so
far - though not all the music I've wanted to buy has been available
through it, which is a shame.


cheers,
os.


2008/12/22 Krispen Hartung <info@krispenhartung.com>:
> Is anyone subscribing to monthly downloads from eMusic? I have been for
> several months now and just love it. I have some really far out improv mu=
sic
> in my collection because of that service.  I was wondering if anyone want=
ed
> to exchanged playlists?
>
> I can't quite figure out how to find a user on eMusic, except by finding =
a
> CD, and then seeing who has it on their playlist. Apparently, you can mak=
e
> somone your friend...but it still escapes me.  I can't search for anyone.
>
> Anway, my username is krispen.  Below is my current list of downloads. If
> you know of anything in the similar category or feel, let me know and I w=
ill
> ad them to my wishlist.
>
> Kris Hartung
> www.krispenhartung.com
> info@krispenhartung.com
> 1-208-724-5603
>
> New York Eye And ...
> by Albert Ayler
>
> Pakistani Pomade
> by Alexander Von Sch...
>
> Six Compositions ...
> by Anthony Braxton
>
> 2 + 2 Compositions
> by Anthony Braxton /...
>
> Object 1
> by Axel Dorner And F...
>
> Bone Structure
> by Bendian / Gauthie...
>
> Pursuit
> by Beno=C3(R)t Delbecq
>
> Verbatim, Flesh a...
> by Bob Ostertag
>
> Guerrilla Mosaics
> by Butcher / Masaoka...
>
> Wisdom of Uncerta...
> by David S. Ware
>
> Barcelona
> by Derek Bailey And ...
>
> The Science Set
> by Derek Bailey, Gre...
>
> Improvisations
> by Etienne Brunet/Fr...
>
> The German Horse
> by Eugene Chadbourne
>
> A Glancing Blow
> by Evan Parker
>
> New excursions
> by Evan Parker
>
> Fluvine
> by Fernando Grillo
>
>
> Back At The Velve...
> by Fred Anderson
>
> Die blaue Nixe
> by Gebhard Ullmann /...
>
> Mumbo Jumbo
> by Jim Staley
>
> ANKER / CRISPELL ...
> by Lotte Anker
>
> The Art of Improv...
> by Min Xiao-Fen/Denm...
>
> Streaming
> by Muhal Richard Abr...
>
> Interstellar Spac...
> by Nels Cline And Gr...
>
> Sound Grammar
> by Ornette Coleman
>
> Synapsis
> by Oskar Aichinger
>
> Breaths And Heart...
> by Parker.Guy.Lytton...
>
> Born Broke
> by Peter Brotzmann
>
> Circulations
> by Pierre-yves Mac=E9
>
> The Psyche
> by Revolutionary Ens...
>
> Quartet
> by Roscoe Mitchell
>
> Backwards
> by Scott Tinkler
>
> The Peter Evans Q...
> by The Peter Evans Q...
>
>
>



--=20
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 09:55:19 2008
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Date: Mon, 22 Dec 2008 01:55:17 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
To: billwalker@baymoon.com
Cc: Loopers Delight <loopers-delight@loopers-delight.com>
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this is pure tone baby

http://www.youtube.com/watch?v=3DfRcKWR50oH8&feature=3Drelated

Luis

 As far as the issue
> of hiding behind a
> wall of distortion to hide bad technique=E2=80=A6=E2=80=A6..Hey I used
> to do that :-)
> obviously, different styles require different instruments
> and string gauges.
> A shredder dude would have difficulty adjusting to the kind
> of strings a
> jazzbo uses, and vice versa . I=E2=80=99m always amused when a
> shredder dude picks
> up my strat or tele strung with heavier strings and tries
> to do the speed
> thing, its equally amusing when a jazz guy picks up a metal
> guitar with
> ultra light strings and can=E2=80=99t handle the mushy response.
> I would agree that
> playing clean will help ones technique to become cleaner,
> but from what I
> can tell, a guy like Steve Vai has exceptionally refined
> technique, and also
> has developed an extremely light left hand touch, which is
> valid technique
> no matter what style you play. Principles of good technique
> apply no matter
> what guitar you are playing or what gauge of strings. I
> actually encourage
> young students to pick up the electric guitar first if that
> is what excites
> them. I am not convinced that one has to start with
> acoustic before moving
> to electric, although that is the conventional wisdom. From
> what I have seen
> in my nearly 30 years as a private teacher is using the =E2=80=9C
> you gotta start on
> clarinet if you want to play saxophone=E2=80=9D  model  can just
> as easily destroy a
> young students desire to learn, as it can motivate them.
> I=E2=80=99ve never had a
> student who started on electric and really got bitten by
> the music bug, fail
> to  show interest in picking up the acoustic guitar at some
> point in their
> development.
>=20
> Bill=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 11:13:56 2008
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Date: Mon, 22 Dec 2008 06:13:47 -0500
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Me too, especially into a Tonebone Classic. A fantastic sound that truly inspires. 

=-) PJ


-----Original Message-----
From: L.Angulo <labaloops@yahoo.com>
To: Loopers-Delight@loopers-delight.com
Sent: Mon, 22 Dec 2008 3:34 am
Subject: Re: special sauce, secret goo




Yezzzzz this remains my ol time favorite i even bought a second one!

> I absolutely LOVE my Prescription Experience as a straight
> fuzz; 


      



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Me too, especially into a Tonebone Classic. A fantastic sound that truly inspires. <br>
<br>
=-) PJ<br>
<br>
<br>
-----Original Message-----<br>
From: L.Angulo &lt;labaloops@yahoo.com&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Mon, 22 Dec 2008 3:34 am<br>
Subject: Re: special sauce, secret goo<br>
<br>


<div id=AOLMsgPart_0_469babbe-053d-4bdf-b780-d797381e2a2e style="FONT-SIZE: 12px; MARGIN: 0px; COLOR: #000; FONT-FAMILY: Tahoma, Verdana, Arial, Sans-Serif; BACKGROUND-COLOR: #fff"><PRE style="FONT-SIZE: 9pt"><TT>
Yezzzzz this remains my ol time favorite i even bought a second one!

&gt; I absolutely LOVE my Prescription Experience as a straight
&gt; fuzz; 


      

</TT></PRE></div>
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From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 11:32:45 2008
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Date: Mon, 22 Dec 2008 05:59:55 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: eMusic Anyone?
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I'm not sure what my user name is on eMusic ... I just know that they have
some of my tunes in there under "usr/sbin" ... I don't use subscription
services very much.

Best,

Dennis

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I&#39;m not sure what my user name is on eMusic ... I just know that they have some of my tunes in there under &quot;usr/sbin&quot; ... I don&#39;t use subscription services very much.<br><br>Best,<br><br>Dennis<br>

------=_Part_85345_5123028.1229943595489--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 11:59:49 2008
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Krispen Hartung wrote:
> I use my fingers too, Mark, and I'm not the best a math, and my wife 
> also does all the finances in the house, but I kicked butt in logic at 
> the university and was able to convert entire paragraphs of common 
> language arguments into sybolic logic and tell whether they were valid 
> or not. 

In UK while I was a pre-teen schoolkid for some reason the powers that
be decided that symbolic logic (in it's guise as Set Theory) needed to be taught
as a pre-cursor to maths.
I don't know what the other kids made of this (or indeed the teachers) but 
I found it incredibly easy to draw the diagrams and get the answers, 
...it felt like cheating.

Maybe that helps to explain the following "mystery guitar chord",
which I don't actually remember playing:-

http://www.andybutler.com/gifs/chord.jpg


...be warned, you should at least visit the page of Kris' quiz
before checking out that pic, otherwise the nerdy joke is lost.


http://www.krispenhartung.com/logicquiz/ 


andy butler


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Date: Mon, 22 Dec 2008 13:02:01 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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On Mon, Dec 22, 2008 at 10:55 AM, L.Angulo <labaloops@yahoo.com> wrote:
> this is pure tone baby
>
> http://www.youtube.com/watch?v=fRcKWR50oH8&feature=related
>

I really liked that one. Thanks for posting! :-)
Not for the tone though, rather for his flow and presence. That was a
unique story told through a guitar.

Per

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 12:13:35 2008
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Date: Mon, 22 Dec 2008 13:13:34 +0100
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Subject: the secret goo of set theory
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> In UK while I was a pre-teen schoolkid for some reason the powers that be
decided that symbolic logic (in it's guise as Set Theory) needed to be
taught as a pre-cursor to maths.
> I don't know what the other kids made of this (or indeed the teachers) but
I found it incredibly easy to draw the diagrams and get the answers, ...it
felt like cheating.

As a matter of fact, we did that too, and (at the risk of coming over as
complete nerdodork) I strongly believe that everything you learn in school
in the subject called "math" should be set theory up to sixth grade or
something.
For children, set theory is very intuitive (much more so than e.g. natural
numbers), and if you've mastered it, everything else in mathematics falls
easily into place.

           Rainer

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&gt; In UK while I was a pre-teen schoolkid for some reason the powers that be decided that symbolic logic (in it&#39;s guise as Set Theory) needed to be taught as a pre-cursor to maths.<br>&gt; I don&#39;t know what the other kids made of this (or indeed the teachers) but I found it incredibly easy to draw the diagrams and get the answers, ...it felt like cheating.<br>
<br>As a matter of fact, we did that too, and (at the risk of coming over as complete nerdodork) I strongly believe that everything you learn in school in the subject called &quot;math&quot; should be set theory up to sixth grade or something.<br>
For children, set theory is very intuitive (much more so than e.g. natural numbers), and if you&#39;ve mastered it, everything else in mathematics falls easily into place.<br><br>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Rainer<br>

------=_Part_73007_30166506.1229948014457--

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From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
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Oh, and btw - there's a limited time only special offer for this CD:

any orders received before Epiphany of 2009 get this CD for a whopping
$6.66 (does not include s&h).

Best,

           Rainer

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From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 12:44:59 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <BLU0-SMTP35F7CFA00ED09011FCAC31DCEE0@phx.gbl> <0BCFDC8AFF2A4DC4B963879044FB7D42@williamsteed> <BLU0-SMTP34BE8B7CD6848B5F333A91DCEE0@phx.gbl> <3fa302e30812211043pd38b539uc20244528b01727c@mail.gmail.com> <BLU0-SMTP4343622C165BA0C548F491DCEE0@phx.gbl> <BLU0-SMTP39701072C86BFC662E54B0DCEE0@phx.gbl> <9ab0c76f0812211647q7be467d1t578b84a69bf69d03@mail.gmail.com> <9ab0c76f0812211652v2a3caeddr4666ca512d1e14ac@mail.gmail.com> <BLU0-SMTP3740C4720ED88AA0179D6FDCEF0@phx.gbl> <494F825F.4090705@tiscali.co.uk>
Subject: Re: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord
Date: Mon, 22 Dec 2008 12:44:59 -0000
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Well, first I did Kris' quiz. I started out doing it quickly and got the 
first two wrong, Then I slowed down and got the rest right. This confirmed 
what I already thought, that I'm reasonably intelligent, but not a quick 
thinker. Next I looked at Andy's Mystery Chord, but failed to identify the 
chord or get the nerdy joke. So I slowed downd again and looked carefully... 
but I still don't get it. Mind you, it could be a trick - it's virtually 
impossible from this two dimensional picture, to tell whether he's actully 
touching the guitar strings at all.

Baffled,

Steve

----- Original Message ----- 
From: "andy butler" <akbutler@tiscali.co.uk>
To: <Loopers-Delight@loopers-delight.com>
Sent: Monday, December 22, 2008 12:04 PM
Subject: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord


> Krispen Hartung wrote:
>> I use my fingers too, Mark, and I'm not the best a math, and my wife also 
>> does all the finances in the house, but I kicked butt in logic at the 
>> university and was able to convert entire paragraphs of common language 
>> arguments into sybolic logic and tell whether they were valid or not.
>
> In UK while I was a pre-teen schoolkid for some reason the powers that
> be decided that symbolic logic (in it's guise as Set Theory) needed to be 
> taught
> as a pre-cursor to maths.
> I don't know what the other kids made of this (or indeed the teachers) but 
> I found it incredibly easy to draw the diagrams and get the answers, ...it 
> felt like cheating.
>
> Maybe that helps to explain the following "mystery guitar chord",
> which I don't actually remember playing:-
>
> http://www.andybutler.com/gifs/chord.jpg
>
>
> ...be warned, you should at least visit the page of Kris' quiz
> before checking out that pic, otherwise the nerdy joke is lost.
>
>
> http://www.krispenhartung.com/logicquiz/
>
> andy butler
>
>
> 


From bekktekk@techno01.bek.jp  Mon Dec 22 14:02:06 2008
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From: received@postcard.org<received@postcard.org>
Content-Type: text/html
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Date: Mon, 22 Dec 2008 21:48:15 +0900 (JST)


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</BODY></HTML>

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 14:40:57 2008
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From: Tony Douglas <tonyisyourpal@yahoo.co.uk>
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Subject: Re: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord
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So... is the hand an Or operator, a universal quantifier or a Vulcan salute=
 thingy ? Enquiring minds want to know ;)


--- On Mon, 22/12/08, andy butler <akbutler@tiscali.co.uk> wrote:

> From: andy butler <akbutler@tiscali.co.uk>
> Subject: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, 22 December, 2008, 12:04 PM
> Krispen Hartung wrote:
> > I use my fingers too, Mark, and I'm not the best a
> math, and my wife also does all the finances in the house,
> but I kicked butt in logic at the university and was able to
> convert entire paragraphs of common language arguments into
> sybolic logic and tell whether they were valid or not.=20
>=20
> In UK while I was a pre-teen schoolkid for some reason the
> powers that
> be decided that symbolic logic (in it's guise as Set
> Theory) needed to be taught
> as a pre-cursor to maths.
> I don't know what the other kids made of this (or
> indeed the teachers) but I found it incredibly easy to draw
> the diagrams and get the answers, ...it felt like cheating.
>=20
> Maybe that helps to explain the following "mystery
> guitar chord",
> which I don't actually remember playing:-
>=20
> http://www.andybutler.com/gifs/chord.jpg
>=20
>=20
> ...be warned, you should at least visit the page of
> Kris' quiz
> before checking out that pic, otherwise the nerdy joke is
> lost.
>=20
>=20
> http://www.krispenhartung.com/logicquiz/=20
>=20
> andy butler=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 15:12:23 2008
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Subject: Re: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord
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----- Original Message ----- 

> So... is the hand an Or operator, a universal quantifier or a Vulcan 
> salute thingy ? Enquiring minds want to know ;)

Heh heh.  It's the peace sign, man. :)  The inclusive "or" of acceptance and 
tolerance.

Kris




From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 15:37:28 2008
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> http://www.andybutler.com/gifs/chord.jpg

That is a tough one, Andy...fingers are so pliable and it's hard to tell 
which frets they are pressing down. But if I had to guess:

First finger - 20th fret, 1st string
First finger - 20th fret, 2nd string
First finger - 19th fret
First finger - 18th fret
First finger - 18th fret
Thumb - 15th freet, 6th string (high E string)

My interpretation:

1, 4 (11), 6 (13), b9, 4 (11), 5

One interpreation of this, if we don't consider the first note an inversion, 
any implied intervals, and Andy's guitar is tuned standard, is that it is C 
add 13/b9/11. But that is really awkward.  I might consider the first note 
the inverted 5th of the root (F), in which case it would be:  5, 1, 3, #5, 
8, 9 or an F #5 add9.

On the other hand, perhaps the first finger is barring more of a vertical 
pattern than we think, 20th fret from 1st string to 3rd, 19th fret on the 
4th and 5th strings, and then 15th fret on the 6th string, in which case 
that would be, still using the inversion:

5, 1, 4 (11), 6 (13), b9, 5  or F add 11/13/b9

Damn it, Andy, couldn't you have thrown a b7 or 7 interval in there?  It 
would have made it a lot easier to interpret without all the adds. :)

Kris



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from Norwich Arts Centre

http://uk.youtube.com/watch?v=REJk_A26HeQ

with Stephen Bingham and Per Boysen.

Sorry no vids for Steve Lawson and Lobelia,
I was lent the camcorder after their sets had finished.
(but they're well represented on YouTube should you wish to check them out).

andy butler



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>(I love Steven Wilson's tone.).

Get a Bad Cat amp. :)

The prog guitarists gear varies greatly.  And some of them change
constantly.  Alex from Rush was a big influence on me and he's gone through
some ungodly number of equipment changes.  Marshals, Hiwatt, GK, more
Marshals, H&K... Gibson, Fender, PRS...  Gilmour's strat, Howe's ES175,
Wilson's PRS.  You name it, it's probably been used by a prog guitarist.
HA!  The one common theme is probably tube amp.  Not all use 'em, but I'd
venture to say that's a pretty common bond.


On Sun, Dec 21, 2008 at 2:14 PM, ejyuhas <ejyuhas@embarqmail.com> wrote:

>  Hear, here, Bill!
>
>
>
> My secret goo is the one-two punch of a Rat and Big Muff, back-to-back. I
> like them both on for that dark ambient wall of doomlike fuzz, especially
> with the Ebow. If I solo and I want the tones cleaner, I just use the Rat=
,
> tweaked to something that will come through the laid-down loops already
> playing.
>
>
>
> Sometimes I wish I had those overdriven tones of the typical progressive
> rock guitar solo, such as something Gilmour-esque, or from bands such as
> Marillion, IQ and Porcupine Tree. (I love Steven Wilson's tone.).
>
>
>
> So if anyone has any recommendation on which nifty, goo-like pedals will
> provide these tones, let me know=85either here or off-list.
>
>
>
> Peace.
>
>
>
> Ed in NJ
>
> http://www.myspace.com/edward_yuhas
>
>
>
>
>



--=20
-=3D=3D-=3D-=3D-
Tony

------=_Part_24806_6116164.1229960602102
Content-Type: text/html; charset=WINDOWS-1252
Content-Transfer-Encoding: quoted-printable
Content-Disposition: inline

&gt;<font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size=
: 10pt; font-family: Arial; color: navy;">(I love
Steven Wilson's tone.).<br><br>Get a Bad Cat amp. :)<br><br>The prog guitar=
ists gear varies greatly.&nbsp; And some of them change constantly.&nbsp; A=
lex from Rush was a big influence on me and he&#39;s gone through some ungo=
dly number of equipment changes.&nbsp; Marshals, Hiwatt, GK, more Marshals,=
 H&amp;K... Gibson, Fender, PRS...&nbsp; Gilmour&#39;s strat, Howe&#39;s ES=
175, Wilson&#39;s PRS.&nbsp; You name it, it&#39;s probably been used by a =
prog guitarist.&nbsp; HA!&nbsp; The one common theme is probably tube amp.&=
nbsp; Not all use &#39;em, but I&#39;d venture to say that&#39;s a pretty c=
ommon bond.&nbsp; <br>
<br></span></font><br><div class=3D"gmail_quote">On Sun, Dec 21, 2008 at 2:=
14 PM, ejyuhas <span dir=3D"ltr">&lt;<a href=3D"mailto:ejyuhas@embarqmail.c=
om">ejyuhas@embarqmail.com</a>&gt;</span> wrote:<br><blockquote class=3D"gm=
ail_quote" style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt =
0pt 0pt 0.8ex; padding-left: 1ex;">









<div link=3D"blue" vlink=3D"purple" lang=3D"EN-US">

<div>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">Hear, here, Bill!</span></font></p=
>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">My secret goo is the one-two punch=
 of a
Rat and Big Muff, back-to-back. I like them both on for that dark ambient w=
all
of doomlike fuzz, especially with the Ebow. If I solo and I want the tones
cleaner, I just use the Rat, tweaked to something that will come through th=
e laid-down
loops already playing.</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">Sometimes I wish I had those overd=
riven
tones of the typical progressive rock guitar solo, such as something
Gilmour-esque, or from bands such as Marillion, IQ and Porcupine Tree. (I l=
ove
Steven Wilson's tone.).</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">So if anyone has any recommendatio=
n on
which nifty, goo-like pedals will provide these tones, let me know=85either
here or off-list.</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">Peace.</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">Ed in NJ</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;"><a href=3D"http://www.myspace.com/=
edward_yuhas" target=3D"_blank">http://www.myspace.com/edward_yuhas</a></sp=
an></font></p>


<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<p><font color=3D"navy" size=3D"2" face=3D"Arial"><span style=3D"font-size:=
 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

</div>

</div>


</blockquote></div><br><br clear=3D"all"><br>-- <br>-=3D=3D-=3D-=3D- <br>To=
ny<br>

------=_Part_24806_6116164.1229960602102--

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Subject: Re: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord
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----- Original Message ----- 
From: "andy butler"
> In UK while I was a pre-teen schoolkid for some reason the powers that
> be decided that symbolic logic (in it's guise as Set Theory) needed to be 
> taught
> as a pre-cursor to maths.
> I don't know what the other kids made of this (or indeed the teachers) but 
> I found it incredibly easy to draw the diagrams and get the answers, ...it 
> felt like cheating.

Leave it to the Brits to think of something as brilliant as that.  Logic, 
especially set theory should by all means precede mathematics. Maybe you can 
thank your famous Bertrand Russell for that (one of my favorite 
philosophers, btw, though I never had the patience to read the the three 
volume mammoth work Principia Mathematica, which he wrote with Whitehead).

You have to love Russell's set theory paradox though:
"It might be assumed that, for any formal criterion, a set exists whose 
members are those objects (and only those objects) that satisfy the 
criterion; but this assumption is disproved by a set containing exactly the 
sets that are not members of themselves. If such a set qualifies as a member 
of itself, it would contradict its own definition as a set containing sets 
that are not members of themselves. On the other hand, if such a set is not 
a member of itself, it would qualify as a member of itself by the same 
definition. This contradiction is Russell's paradox"


Kris


From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 16:30:18 2008
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Although I'm a lawyer, and therefore interested in and sometimes bound by  
logic, I must say that the only philosophy class I took in college was an intro  
class taught by a guy named T.D. Perry at the State University of New York at 
 Buffalo .  And the only thing I remember from the class (other than  
torching the books once the final exam was over - the only time I've ever  destroyed 
a book) is this pithy sentence meant to challenge us to answer the  question: 
How do we "know" anything?: "The pain must be acute, said A to  B, appropos 
the manifestly suffering C."  My answer to the  question "How do we "know" the 
feeling of pain" or more aptly, how do we know  when someone else is feeling 
pain, was simple: If you get knocked about the head  with a bat, let's say, do 
you not understand, nay, know, the feeling of  pain?  If so, you can logicaly 
assume that another person, "C" in this  case, would feel pain if s/he were to 
befall the same unfortunate  circumstances.  That's the end of the inquiry as 
far as I'm  concerned.  Please help me: Is there something more to this?
 
This little anecdote is definitely NOT intended to dis anyone who has  
studied philosophy or for whom that study has proven fruitful.  Just to  share a 
long ago memory that was triggered by this discussion.
 
Holiday Greetings To All,
 
Harry
 
 
Harry  Weinberg, Esq.
Law Offices of Harry Weinberg
11 Beach Street - 8th  Floor
New York, N.Y. 10013
(212) 989-2908  

 
In a message dated 12/22/2008 10:47:00 A.M. Eastern Standard Time,  
info@krispenhartung.com writes:

-----  Original Message ----- 
From: "andy butler"
> In UK while I was a  pre-teen schoolkid for some reason the powers that
> be decided that  symbolic logic (in it's guise as Set Theory) needed to be 
>  taught
> as a pre-cursor to maths.
> I don't know what the other  kids made of this (or indeed the teachers) but 
> I found it incredibly  easy to draw the diagrams and get the answers, ...it 
> felt like  cheating.

Leave it to the Brits to think of something as brilliant as  that.  Logic, 
especially set theory should by all means precede  mathematics. Maybe you can 
thank your famous Bertrand Russell for that  (one of my favorite 
philosophers, btw, though I never had the patience to  read the the three 
volume mammoth work Principia Mathematica, which he  wrote with Whitehead).

You have to love Russell's set theory paradox  though:
"It might be assumed that, for any formal criterion, a set exists  whose 
members are those objects (and only those objects) that satisfy the  
criterion; but this assumption is disproved by a set containing exactly  the 
sets that are not members of themselves. If such a set qualifies as a  member 
of itself, it would contradict its own definition as a set  containing sets 
that are not members of themselves. On the other hand, if  such a set is not 
a member of itself, it would qualify as a member of  itself by the same 
definition. This contradiction is Russell's  paradox"


Kris





**************One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. 
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-------------------------------1229963412
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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3DUS-ASCII">
<META content=3D"MSHTML 6.00.6000.16788" 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>Although I'm a lawyer, and therefore interested in and sometimes bound=20=
by=20
logic, I must say that the only philosophy class I took in college was an in=
tro=20
class taught by a guy named T.D. Perry at the State University of New York a=
t=20
Buffalo .&nbsp; And the only thing I remember from the class (other than=20
torching the books once the final exam was over - the only time I've ever=20
destroyed a book) is this pithy sentence meant to challenge us to answer the=
=20
question: How do we "know" anything?: <STRONG>"The pain must be acute, said=20=
A to=20
B, appropos the manifestly suffering C."</STRONG>&nbsp; My answer to the=20
question "How do we "know" the feeling of pain" or more aptly, how do we kno=
w=20
when someone else is feeling pain, was simple: If you get knocked about the=20=
head=20
with a bat, let's say, do you not understand, nay, know,&nbsp;the feeling of=
=20
pain?&nbsp; If so, you can logicaly assume that another person, "C" in this=20
case, would feel pain if s/he were to befall the same unfortunate=20
circumstances.&nbsp; That's the end of the inquiry as far as I'm=20
concerned.&nbsp; Please help me: Is there something more to this?</DIV>
<DIV>&nbsp;</DIV>
<DIV>This little anecdote is definitely NOT intended to dis anyone who has=20
studied philosophy or for whom that study has proven fruitful.&nbsp; Just to=
=20
share a long ago memory that was triggered by this discussion.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Holiday Greetings To All,</DIV>
<DIV>&nbsp;</DIV>
<DIV>Harry</DIV>
<DIV>&nbsp;</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) 989-2908=20
<DIV>&nbsp;</DIV>
<DIV>
<DIV>In a message dated 12/22/2008 10:47:00 A.M. Eastern Standard Time,=20
info@krispenhartung.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>-----=20
  Original Message ----- <BR>From: "andy butler"<BR>&gt; In UK while I was a=
=20
  pre-teen schoolkid for some reason the powers that<BR>&gt; be decided that=
=20
  symbolic logic (in it's guise as Set Theory) needed to be <BR>&gt;=20
  taught<BR>&gt; as a pre-cursor to maths.<BR>&gt; I don't know what the oth=
er=20
  kids made of this (or indeed the teachers) but <BR>&gt; I found it incredi=
bly=20
  easy to draw the diagrams and get the answers, ...it <BR>&gt; felt like=20
  cheating.<BR><BR>Leave it to the Brits to think of something as brilliant=20=
as=20
  that.&nbsp; Logic, <BR>especially set theory should by all means precede=20
  mathematics. Maybe you can <BR>thank your famous Bertrand Russell for that=
=20
  (one of my favorite <BR>philosophers, btw, though I never had the patience=
 to=20
  read the the three <BR>volume mammoth work Principia Mathematica, which he=
=20
  wrote with Whitehead).<BR><BR>You have to love Russell's set theory parado=
x=20
  though:<BR>"It might be assumed that, for any formal criterion, a set exis=
ts=20
  whose <BR>members are those objects (and only those objects) that satisfy=20=
the=20
  <BR>criterion; but this assumption is disproved by a set containing exactl=
y=20
  the <BR>sets that are not members of themselves. If such a set qualifies a=
s a=20
  member <BR>of itself, it would contradict its own definition as a set=20
  containing sets <BR>that are not members of themselves. On the other hand,=
 if=20
  such a set is not <BR>a member of itself, it would qualify as a member of=20
  itself by the same <BR>definition. This contradiction is Russell's=20
  paradox"<BR><BR><BR>Kris<BR><BR><BR></FONT></BLOCKQUOTE></DIV></FONT></DIV=
></FONT><BR><BR><BR><DIV CLASS=3D"aol_ad_footer" ID=3D"1d07a1d6d151738261d0c=
ddb14f03d9b"><FONT style=3D"color: black; font: normal 10pt ARIAL, SAN-SERIF=
;"><HR style=3D"MARGIN-TOP: 10px">One site keeps you connected to all your e=
mail: AOL Mail, Gmail, and Yahoo Mail. <a href=3D"http://www.aol.com/?optin=
=3Dnew-dp&icid=3Daolcom40vanity&ncid=3Demlcntaolcom00000025">Try it now</a>.=
</FONT></DIV></BODY></HTML>

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Date: Mon, 22 Dec 2008 08:49:51 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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yes indeed...one guitar one mic and a human being,and we know that taking away that mic or putting the electricity out poses no danger on him;-)
but back to the electric tone topic, and speaking about raw tones i dont think ive heard such beautful and pure tube overdrive tone in years until i came across this amps:

http://swartamps.com/swart_atomic_space_tone.htm

just check out this video on that little 20 watt baby

http://www.youtube.com/watch?v=WjZSnjFbAQ8&feature=related

man too bad they dont have them in europe!

www.myspace.com/luisangulocom


--- On Mon, 12/22/08, Per Boysen <perboysen@gmail.com> wrote:

> From: Per Boysen <perboysen@gmail.com>
> Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, December 22, 2008, 4:02 AM
> On Mon, Dec 22, 2008 at 10:55 AM, L.Angulo
> <labaloops@yahoo.com> wrote:
> > this is pure tone baby
> >
> >
> http://www.youtube.com/watch?v=fRcKWR50oH8&feature=related
> >
> 
> I really liked that one. Thanks for posting! :-)
> Not for the tone though, rather for his flow and presence.
> That was a
> unique story told through a guitar.
> 
> Per


      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 17:17:32 2008
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----- Original Message ----- 
My answer to the question "How do we "know" the feeling of pain" or more 
aptly, how do we know when someone else is feeling pain, was simple: If you 
get knocked about the head with a bat, let's say, do you not understand, 
nay, know, the feeling of pain?  If so, you can logically assume that 
another person, "C" in this case, would feel pain if s/he were to befall the 
same unfortunate circumstances.  That's the end of the inquiry as far as I'm 
concerned.  Please help me: Is there something more to this?
*****

Basically, there isn't much more to it, Harry. You have shed light on an age 
old philosophical problem, called "The Problem of Other Minds".   Your 
statement, how do we know when someone else is feeling pain, is really an 
extension of the more general question of how do we know other minds exist? 
There are a lot of convoluted arguments for this, but the two most basic in 
my mind are:

1) Argument by analogy: That you feel pain after being hit with a baseball 
bat, talk in such a such a manner (that suggests intelligence), etc, and so 
when you observe another body being hit with a baseball bat, or uttering 
similar words that suggest intelligence, you can infer by analogy (not 
logic), that the other person is feeling pain and also has a mind as you do.

2) Argument by Causation and Probability: You have complex thoughts and 
ideas and are able to communicate them with language; you hear this language 
spoken by things (sensory data that appear like human bodies) other than 
yourself; so either something is just randomly generating the language in 
such a way that is sounds intelligent, or the language is indeed being 
"caused" by another mind. We can argue that the former argument, though 
possible in the realm of ideas, is highly improbably, so we infer that there 
are other minds.

People get annoyed with these little arguments and debates or what seems to 
them completely obvious. But the point is that in the above two simple 
argument, the conclusions are not "deduced" from the premises, meaning they 
are logically certain and necessary, but are inferred. And all inferences of 
this nature are not certain, but are believed with a degree of probability. 
So, we never truly "know" in the strict sense of the word that other minds 
exist or that other beings feel pain; we can only infer this with a high 
degree of probability.   This is one of the beauties of philosophy, in my 
opinion. It keeps us from elevating ourselves so high in the world that we 
think we are prefect and can have certain knowledge of the world, when in 
fact we are very limited, and our very nature that allows us to comprehend 
millions of possibilities, also thwarts any attempt for us to make claim to 
certain knowledge. And this is exactly why science, being a discipline based 
on inference and induction, makes no claim to the truth or certainty, but 
only degrees of probability. The only people you hear boasting that they 
know truth are a certain school of philosophers (the non-empirical or 
Rationalist sort) and religious fanatics.  They only believe they know the 
truth, yet none can withstand the acid test of doubt.

Kris




From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 17:47:53 2008
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Ah man...thanks! There is nothing so simultaneously humbling and 
inspiring to me as a good flamenco player. For harmonic richness, 
technical inventiveness, intensity and soul, I consider this kind of 
playing to be the holy Mecca of guitar-ing.

back to the practice room...

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

> this is pure tone baby
>
> http://www.youtube.com/watch?v=fRcKWR50oH8&feature=related
>
> Luis

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 18:05:53 2008
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I love eMusic, have been with them for three years or so. Thanks for the 
lists, I'm going to check all that stuff out. Early on I focused more 
stockpiling things like Monk and Bach in bulk, recently I've been more 
adventurous. Here are a few I've found rewarding:

Bournemouth Symphony Orchestra
- Philip Glass, Symphonies 2 & 3
- John Adams, Shaker Loops

Cuong Vu
- everything (Art, I really like "Pure" as well.)

Derek Bailey
- Improvisation
- Music & Dance

Devin Sarno
- Full dynamics-frequency Spectrum (ambient dark loveliness)

Fantomas
- Delirium Cordia (god, I love this record...through-composed ambient metal)

Hilmar Jensson
- Meg Nem Sa (interesting nu jazz guitar player)

Human Feel
- Speak to It (Kurt Rosenwinkel, Jim Black, et al)

Jaga Jazzist
- The Stix (thanks Rick, for the rec)

John Butcher
- London & Cologne (solo sax, awesome)

Marc Ribot
- Spiritual Unity
- Sounds Of A Distant Episode (w/Fred Frith)

Mat Maneri
- Blue Decco

Mountains
- Mountains (very minimal sort of instrumental indie-chamber-pop)

Nels Cline/Wally Shoup/Greg Campbell
- Suite Bittersweet

Nils Petter Molvaer
- ER

Peter Brotzmann
- F*ck de Boere

So Percussion
- all their stuff, especially Amid the Noise

Vandermark 5
- Elements of Style, Exercises in Surprise

Tim Berne
- The Shell Game (super-long tunes, and very much worth the time)

Trevor Dunn's Trio Convulsant
- Sister Phantom Owl Fish

Zoe Keating
- live at Schubas



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

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Ahh... but wasn't set theory as we now know it described by the French Bour=
bakists, whose method of discourse and debate was so brutal it puts anythin=
g ever seen on this list to shame ? (I seem to recall one debate being reso=
lved with a letter saying almost literally, "you're f*cked"...)


--- On Mon, 22/12/08, Krispen Hartung <info@krispenhartung.com> wrote:

> From: Krispen Hartung <info@krispenhartung.com>
> Subject: Re: OT Re: DISAGREEMENTS and THIS LIST was goo now Sercret Chord
> To: Loopers-Delight@loopers-delight.com
> Date: Monday, 22 December, 2008, 3:46 PM
> ----- Original Message ----- From: "andy butler"
> > In UK while I was a pre-teen schoolkid for some reason
> the powers that
> > be decided that symbolic logic (in it's guise as
> Set Theory) needed to be taught
> > as a pre-cursor to maths.
> > I don't know what the other kids made of this (or
> indeed the teachers) but I found it incredibly easy to draw
> the diagrams and get the answers, ...it felt like cheating.
>=20
> Leave it to the Brits to think of something as brilliant as
> that.  Logic, especially set theory should by all means
> precede mathematics. Maybe you can thank your famous
> Bertrand Russell for that (one of my favorite philosophers,
> btw, though I never had the patience to read the the three
> volume mammoth work Principia Mathematica, which he wrote
> with Whitehead).
>=20
> You have to love Russell's set theory paradox though:
> "It might be assumed that, for any formal criterion, a
> set exists whose members are those objects (and only those
> objects) that satisfy the criterion; but this assumption is
> disproved by a set containing exactly the sets that are not
> members of themselves. If such a set qualifies as a member
> of itself, it would contradict its own definition as a set
> containing sets that are not members of themselves. On the
> other hand, if such a set is not a member of itself, it
> would qualify as a member of itself by the same definition.
> This contradiction is Russell's paradox"
>=20
>=20
> Kris=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 22:58:27 2008
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Luis wrote:
"http://swartamps.com/swart_atomic_space_tone.htm

just check out this video on that little 20 watt baby"

This looks amazing but at $1850,   not something I'm going to 
buy in my lifetime, unfortunately.

I guess it's not that bad a price if your only instrument was 
guitar.     It's really appealing, too, that it's small.

A boy can dream, I guess.



From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 23:04:39 2008
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> Krispen Hartung wrote:
> I wonder if piano players have these same sort of discussions?  Or are
guitarists just freaks of nature... :)  Tone, tone, tone....

Hi Kris,
They do :) Piano and synth players have similar discussions. You have
purists, analog freaks, soft synth freaks, generalists, newbie's etc
Example discussions are Analog vs. Virtual Analog, Mac vs PC, hardware
vs software..no difference

But I think this discussion goes about "sound design": what makes up a
good sound, what mix of instruments and effects. I like designing my own
synth sounds and use them live on stage. And what I learned playing live
is that you often play in a venue where the sound is so bad that it
really doesn't matter if you use synth A or B or FX A or B. So you often
"think" you have a good sound but it's not...it's ruined by the
acoustics of the room you play. 

Another phenomena I see a lot is that many artists have a bad sound: too
loud, bad mix, bad EQ, too much FX, noise, hum, no dynamics etc You
understand what I mean? So my advice is not only to pay attention to the
instruments, FX and amps but also to how their sound is perceived by the
audience (the mix) because some artists simply forget that there's an
audience listening to their music. Second, I also believe that the
average musician doesn't use 100% of the capabilities of the gear they
have. I believe a good sound designer makes more of cheap gear than a
many of us hear on the LD list. 

Btw: I think I'm one of the few keyboard players here using guitar stomp
boxes. So don't get me wrong: I'm a gear freak and fully understand what
you guitarists mean. I'm as bad: I can program for hours on a synth
patch or FX pedal and still don't like it. Or I change it for the 10th
time after a live show because it the sound wasn't good. And buying gear
and trying to find the ultimate sound is an interesting journey, so I do
that too ;)

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw


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Date: Tue, 23 Dec 2008 00:37:03 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo (goo especially)
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Sjaak,

you wrote a lot of different things in the goo discussion, which I'd
like to comment:
> > I wonder if piano players have these same sort of discussions?
> They do :). [...] Example discussions are Analog vs. Virtual Analog, Mac =
vs PC, hardware vs software
Or Steinway vs. B=F6sendorfer...

> And what I learned playing live is that you often play in a venue where t=
he sound is so bad that it really doesn't matter if you use synth A or B or=
 FX A or B.
Generally, I believe that, even without the room acoustics completely
ruining the picture, in a live context a lot of details get lost most
of the time.
What's more interesting is the situation where in the studio synth
patch A might work better, while in a live situation patch B would be
the best choice.

> Another phenomena I see a lot is that many artists have a bad sound.
Also true, but only to a certain part to blame on the artist, simply
because you as an artist usually do lack detailed info on the
properties of the room and the pa system. On the other hand, in many
situations the p.a. guy may not know (or simply not be interested in)
the goals of the artist regarding sound. And finally (and that's where
the artist comes into play, but only in cases - like for most of us -
where the artist supplies a somewhat crafted sound to the FOH desk),
often the artists send a crappy sound to the FOH desk (for whatever
reason, one possibly that the artist does not have the means to do a
completely independent mix for his inears and can't or won't rely on
the foh engineer for that).
Of course, part of that is - as you mentioned - to know how to use
your gear, but in that context I think the problem isn't that lots of
guys arrive with a GML or Cranesong on their 2bus and do something
with it which they could also do with a Behringer, the problem is that
they don't know exactly how to properly use a compressor (or eq, or
whatever).

(On that issue: back in the days of my improvised dance band "Eclectic
Blah", we'd use a 32ch digital desk with powerful channel strips, 1/3
Oct EQ and a Finalizer on the 2bus and cared for the sound ourselves.
With a combination of proper sound check/setup and disciplined
players, we sometimes would get really pristine sound and could avoid
bad sound even with adverse room acoustics).

> I think I'm one of the few keyboard players here using guitar stomp boxes=
.
(Rainer raises hand)

From Loopers-Delight-request@loopers-delight.com  Mon Dec 22 23:37:57 2008
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Date: Mon, 22 Dec 2008 15:37:55 -0800
From: "Matt Davignon" <mattdavignon@gmail.com>
To: Loopers-Delight@loopers-delight.com
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Buzap <buzap@gmx.net> was like:

Hi folks
>
> I was just packing some stuff when I thought about it:
> It would be neat to have small box, possibly with FX, to connect a guitar
> signal (guitar or mic with RC-2 looper) to headphones/stereo when
> travelling.
>
> So what do you think?
> - Should I get a Korg Pandora PX-1 on Ebay?
> Is the quality ok for travelling purposes? Or should I invest more in a
> PX-3 etc.?


I bought a Pandora PX4d a while back, and I never use it.

What it does is pretty impressive, but it wasn't very useful for the sorts
of things I like to do - that is, change effects on the fly while I'm
playing the instrument.

With a Pandora, you can set up 6 or 7 different fx in a chain, with one of
each effect "type" (some of the types are amp simulation, cab simulation,
reverb, modulation, etc.) The fx themselves sounded pretty good to me.

It also seems to be ok for the purpose you're asking about - a small potable
headphone amp for guitar.

However, say you want to twist a knob to make a "wah wah" effect with the
filters, or do some expression with the pitch bending effect by twisting a
knob. In order to do these things, you had to open up the "editor", tab over
to the effect, and then modify it. Not very friendly to on-the-fly sorts of
stuff. An Alesis Ineko wound up filling that role for me.

Caveat: I didn't spend too much time with the device, and it was about 8
months ago. It's possible that my observations are poorly informed.


Matt Davignon
www.ribosomemusic.com

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Buzap <span dir="ltr">&lt;<a href="mailto:buzap@gmx.net">buzap@gmx.net</a>&gt;</span> was like:<br><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hi folks<br>
<br>
I was just packing some stuff when I thought about it:<br>
It would be neat to have small box, possibly with FX, to connect a
guitar signal (guitar or mic with RC-2 looper) to headphones/stereo
when travelling.<br>
<br>
So what do you think?<br>
- Should I get a Korg Pandora PX-1 on Ebay?<br>
Is the quality ok for travelling purposes? Or should I invest more in a PX-3 etc.?</blockquote><br>I bought a Pandora PX4d a while back, and I never use it. <br><br>What it does is pretty impressive, but it wasn&#39;t very useful for the sorts of things I like to do - that is, change effects on the fly while I&#39;m playing the instrument. <br>
<br>With a Pandora, you can set up 6 or 7 different fx in a chain, with one of each effect &quot;type&quot; (some of the types are amp simulation, cab simulation, reverb, modulation, etc.) The fx themselves sounded pretty good to me. <br>
<br>It also seems to be ok for the purpose you&#39;re asking about - a small potable headphone amp for guitar.<br><br>However, say you want to twist a knob to make a &quot;wah wah&quot; effect with the filters, or do some expression with the pitch bending effect by twisting a knob. In order to do these things, you had to open up the &quot;editor&quot;, tab over to the effect, and then modify it. Not very friendly to on-the-fly sorts of stuff. An Alesis Ineko wound up filling that role for me. <br>
<br>Caveat: I didn&#39;t spend too much time with the device, and it was about 8 months ago. It&#39;s possible that my observations are poorly informed.<br><br><br>Matt Davignon<br><a href="http://www.ribosomemusic.com">www.ribosomemusic.com</a><br>
<div class="gmail_quote"><br></div><br>

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Krispen Hartung <info@krispenhartung.com> was all:

> Is anyone subscribing to monthly downloads from eMusic? I have been for
> several months now and just love it. I have some really far out improv music
> in my collection because of that service.  I was wondering if anyone wanted
> to exchanged playlists?
>

I'm on there as "mdavignon". I found lots of good stuff and still manage to
use most of my monthly downloads.  Emusic seems to have publicly "lost" the
playlists I had built when they changed their format a few months back, but
you can find 'em listed on my profile.

3 of my cds are available there too.

http://www.emusic.com/profile/index.html?nickname=MDavignon

Some favorite artists:
Efterklang
Madlib
Doveman
Alog
Scala & Kolacny Brothers
The Bulgarian Voices
Tujiko Noriko
Philip Jeck
Camping
Biosphere
The Books
The Angels of Light
Tim Hecker
Information
Jan Jelinek
Easy Star All Stars
The Lions

Matt Davignon
www.ribosomemusic.com

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Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> was all:<br><div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Is anyone subscribing to monthly downloads from eMusic? I have been for several months now and just love it. I have some really far out improv music in my collection because of that service. &nbsp;I was wondering if anyone wanted to exchanged playlists?<br>

</blockquote></div><br>I&#39;m on there as &quot;mdavignon&quot;. I found lots of good stuff and still manage to use most of my monthly downloads.&nbsp; Emusic seems to have publicly &quot;lost&quot; the playlists I had built when they changed their format a few months back, but you can find &#39;em listed on my profile.<br>
<br>3 of my cds are available there too.<br><br><a href="http://www.emusic.com/profile/index.html?nickname=MDavignon">http://www.emusic.com/profile/index.html?nickname=MDavignon</a><br><br>Some favorite artists: <br>Efterklang<br>
Madlib<br>Doveman<br>Alog<br>Scala &amp; Kolacny Brothers<br>The Bulgarian Voices<br>Tujiko Noriko<br>Philip Jeck<br>Camping <br>Biosphere<br>The Books<br>The Angels of Light<br>Tim Hecker<br>Information<br>Jan Jelinek<br>
Easy Star All Stars<br>The Lions<br><br>Matt Davignon<br><a href="http://www.ribosomemusic.com">www.ribosomemusic.com</a><br>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 00:27:48 2008
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 (goo especially)
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i have hesitated to get into this discussion-guitar distortion is a bloody religion(belief system) to me-so it is sacred and profane and very personal and essential(to me anyway).
it seems that every loopfest i attend-my elaborate chain of efx goes south and i end up plugging into my fuzz pedal and nothing else-talk about black holes and vortex(s?)
but i thought i would do an inventory here @ stanitarium to see where i'm coming from; lovs me some fuzzarama...always lookin to find that secret thing...the ONE i am using these days i dont want to say :-)
list o' stompers i gott:
BOSS
    Bass Overdrive ODB-3
    Hyper Fuzz FZ-2
    Super Distortion&Feedbacker
DOD
   Harmonic Enhancer
   MeatBox
   BuzzBox
Electro Harmonix
   4 BigMuffs
   1 Double Muff
ProCo 
   2 LM308 Rats
Jacques FuseBlower
Orange Sunshine
MXR BlueBox
GuyaTone HD-2
TubeWorks BlueTube
Sanford&Sonny BlueBeard
Voodoo Labs SparkleDrive
Roger Mayer The Fuzz Face
Arbiter England FuzzFace
...
and  on it goes
there...that was a relief.
seeya
stan






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We've talked about Boid Algorithms here before.
They are the plottings of the contraint of randomness found in
flocking birds.

Here is an amazing video of flocking birds that I just saw:

Wow, talk about morphing patterning in nature.

http://video.yahoo.com/network/100000086?v=2963992&l=100000085

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Hi,

I've been with emusic for about a year now and think that the variety  
is pretty good.

I've been listening to two recordings by Phil Keaggy lately,  
Roundabout and Jammed. They both seem to be clips of things he's done  
in the studio or live that have lots of looping in them and very  
improvised. Both of these recordings are instrumental for those of you  
that prefer to avoid his more Christian song lyrics.

Paul Haslem
Ontario, Canada

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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: OT: Korg Pandora PX-* recommendable?
Date: Mon, 22 Dec 2008 17:00:13 -0800
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On Dec 22, 2008, at 3:37 PM, Matt Davignon wrote:

> Not very friendly to on-the-fly sorts of stuff. An Alesis Ineko  
> wound up filling that role for me.



Seems like the mini Kaoss Pad would be a good travel fx box connected  
to an R2.
What would be nice is a tiny amp like the amPlug Vox headphone amp  
with an fx loop.


regards

BobC




http://tinyurl.com/yt8f8j  Flickr set

http://www.youtube.com/tynego

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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: SOME THOUGHTS ON ART FOR THE 2009 HOLIDAY SEASON
Date: Mon, 22 Dec 2008 18:38:56 -0800
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Hi all,

Ah, the big Festivus is only a few days away and before we all succumb=20=

to the material excesses of the holiday season (or succumb to deeper=20
gloom because of the economic climate and lack of said excess, perhaps)=20=

I thought I'd share a blurb I ran across today on the net.

It's a "manifesto" (of sorts) proposed by a group called the Bread and=20=

Puppets Theater in Vermont.

Here goes . . .

PEOPLE have been THINKING too long that ART is a privilege of the=20
MUSEUMS & the RICH. ART IS NOT BUSINESS! It does not belong to banks &=20=

fancy investors. ART IS FOOD. You can't EAT it BUT it FEEDS you. ART=20
has to be CHEAP & available to EVERYBODY. It needs to be EVERYWHERE=20
Because it is the INSIDE of the WORLD. ART SOOTHES PAIN! Art wakes up=20
sleepers! ART FIGHTS AGAINST WAR AND STUPIDITY! ART SINGS HALLELUJAH!=20
ART IS FOR KITCHENS! ART IS LIKE GOOD BREAD! Art is like green trees!=20
Art is like white clouds in blue sky! ART IS CHEAP! HURRAH! (The Why=20
Cheap Art Manifesto, Bread and Puppet Theatre, Vermont, 1984)

(The occasional use of uppercase emphasis is theirs and exactly how I=20
found the quote)

I wonder what sort of discussion might ensue if it suggested that ART=20
could be replaced by MUSIC or . . . to keep this post "on topic" . . .=20=

LOOPING (a Cheap Looping Manifesto, ha!) as silly as it might sound.

Hi-de-ho-ho-ho.!

Best regards,

tEd =AE KiLLiAn

Creativity represents a miraculous coming together of the uninhibited=20
energy of the child with its apparent opposite and enemy, the sense of=20=

order imposed on the disciplined adult intelligence. =96 Norman =
Podhoretz

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes=

--Apple-Mail-1-437149747
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Hi all,


Ah, the big Festivus is only a few days away and before we all succumb
to the material excesses of the holiday season (or succumb to deeper
gloom because of the economic climate and lack of said excess,
perhaps) I thought I'd share a blurb I ran across today on the net.


It's a "manifesto" (of sorts) proposed by a group called the Bread and
Puppets Theater in Vermont.


Here goes . . .


<bold><bigger>PEOPLE have been THINKING too long that ART is a
privilege of the MUSEUMS & the RICH. ART IS NOT BUSINESS! It does not
belong to banks & fancy investors. ART IS FOOD. You can't EAT it BUT
it FEEDS you. ART has to be CHEAP & available to EVERYBODY. It needs
to be EVERYWHERE Because it is the INSIDE of the WORLD. ART SOOTHES
PAIN! Art wakes up sleepers! ART FIGHTS AGAINST WAR AND STUPIDITY! ART
SINGS HALLELUJAH! ART IS FOR KITCHENS! ART IS LIKE GOOD BREAD! Art is
like green trees! Art is like white clouds in blue sky! ART IS CHEAP!
HURRAH! (The Why Cheap Art Manifesto, Bread and Puppet Theatre,
Vermont, 1984)</bigger>

</bold>

(The occasional use of uppercase emphasis is theirs and exactly how I
found the quote)


I wonder what sort of discussion might ensue if it suggested that ART
could be replaced by MUSIC or . . . to keep this post "on topic" . . .
LOOPING (a Cheap Looping Manifesto, ha!) as silly as it might sound.


Hi-de-ho-ho-ho.!


Best regards,


tEd =AE KiLLiAn


Creativity represents a miraculous coming together of the uninhibited
energy of the child with its apparent opposite and enemy, the sense of
order imposed on the disciplined adult intelligence. =96 Norman =
Podhoretz


http://www.myspace.com/tedkillian

http://www.reverbnation.com/tedkillian

http://www.pfmentum.com/PFMCD007.html

http://www.CDbaby.com/cd/tedkillian

http://www.guitar9.com/fluxaeterna.html

http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193

http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768


Ted Killian's "Flux Aeterna" is also available at Apple iTunes=

--Apple-Mail-1-437149747--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 02:44:13 2008
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From: RICHARD SALES <richard@glasswing.com>
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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--Apple-Mail-2-437462093
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Sjaak

I used to LOVE to put my Yamaha FB01 through the Twin Tube heavy metal  
style distortion.  Amazing Jan Hammer kind of sounds.  I used a  
modified bass patch I think it was.  I still keep the FB01 just  
because of that.  Don't use it all that much any more.  It was always  
for me a one trick pony, but GREAT at that one trick.

SOMEDAY I hope to use it again.

And I still have my Roland Jupiter 8.  I love that keyboard so much...  
AND... I still use it a fair bit.  Nothing can touch it's amazing  
LFO.  I think analogue rules for synth sounds.

always enjoy your posts

Richard

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com

On Dec 22, 2008, at 3:04 PM, Sjaak wrote:
>>
> Btw: I think I'm one of the few keyboard players here using guitar  
> stomp
> boxes. So don't get me wrong: I'm a gear freak and fully understand  
> what
> you guitarists mean. I'm as bad: I can program for hours on a synth
> patch or FX pedal and still don't like it. Or I change it for the 10th
> time after a live show because it the sound wasn't good. And buying  
> gear
> and trying to find the ultimate sound is an interesting journey, so  
> I do
> that too ;)
>
> ---
> Sjaak
> http://www.livelooping.be/
> http://www.overgaauw.be/
> http://www.myspace.com/sjaakovergaauw
>
>

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com






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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Sjaak<div><br></div><div>I used =
to LOVE to put my Yamaha FB01 through the Twin Tube heavy metal style =
distortion. &nbsp;Amazing Jan Hammer kind of sounds. &nbsp;I used a =
modified bass patch I think it was. &nbsp;I still keep the FB01 just =
because of that. &nbsp;Don't use it all that much any more. &nbsp;It was =
always for me a one trick pony, but GREAT at that one trick. =
&nbsp;</div><div><br></div><div>SOMEDAY I hope to use it again. =
&nbsp;</div><div><br></div><div>And I still have my Roland Jupiter 8. =
&nbsp;I love that keyboard so much... AND... I still use it a fair bit. =
&nbsp;Nothing can touch it's amazing LFO. &nbsp;I think analogue rules =
for synth sounds. &nbsp;&nbsp;</div><div><br></div><div>always enjoy =
your =
posts</div><div><br></div><div>Richard</div><div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">RICHARD =
SALES</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div></span><div><div>On Dec 22, 2008, at =
3:04 PM, Sjaak wrote:</div><blockquote type=3D"cite"><div><blockquote =
type=3D"cite"><br></blockquote>Btw: I think I'm one of the few keyboard =
players here using guitar stomp<br>boxes. So don't get me wrong: I'm a =
gear freak and fully understand what<br>you guitarists mean. I'm as bad: =
I can program for hours on a synth<br>patch or FX pedal and still don't =
like it. Or I change it for the 10th<br>time after a live show because =
it the sound wasn't good. And buying gear<br>and trying to find the =
ultimate sound is an interesting journey, so I do<br>that too =
;)<br><br>--- <br>Sjaak<br><a =
href=3D"http://www.livelooping.be/">http://www.livelooping.be/</a><br>http=
://www.overgaauw.be/<br>http://www.myspace.com/sjaakovergaauw<br><br><br><=
/div></blockquote></div><br><div apple-content-edited=3D"true"> <span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

--Apple-Mail-2-437462093--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 04:23:59 2008
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Date: Mon, 22 Dec 2008 20:23:58 -0800 (PST)
From: scott hansen <evanpeewee@yahoo.com>
Reply-To: evanpeewee@yahoo.com
Subject: small travel amp modeller options/Stan's Distortion options
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--0-1919668403-1230006238=:22534
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i've never played through a korg pandora, but i do remember reeves gabrels =
saying good things about one of the older model korg pandoras (can't rememb=
er #, might have been the 2nd generation of them), he was using during his =
"ullyses" album along w/ a line 6 pod , and he had good things to say about=
 them.
=A0
on my few travel excursions where i've taken a guitar I have taken:
=A0
digitech rp100
digitech rp150=20
=A0
it worked fine for headphone play while traveling, it fit in my guitar bag =
w/ my headless guitar.i actually like using the ping pong delays, i don't u=
sually do that much in my setup in my studio, since i chain a lot of things=
 together..
for soem reason, i've had my zoom g2 for almost 3 yrs and have never taken =
it, not sure why, b/c it's just as portable. for my upcoming trip, i just b=
ought a behringer v-amp 2, wanted to try something different-i played it br=
iefly tonight-and thought it got some decent sounds. one thing i do think t=
he digitech and the zoom are a bit bigger than the pandoras, they are prett=
y small correct-probably good for travel.
=A0
STANITARIUM-holy man, that's a lot of distortion boxes you have. wow oh wow=
. i don't think i've even tested a fourth of that amount that you have!!!
i probably need to get out more....
happy looping.
scott
=A0=0A=0A=0A      
--0-1919668403-1230006238=:22534
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>i've never played through a korg pandora, but i do remember reeves gabrels saying good things about one of the older model korg pandoras (can't remember #, might have been the 2nd generation of them), he was using during his "ullyses" album along w/ a line 6 pod , and he had good things to say about them.</DIV>
<DIV>&nbsp;</DIV>
<DIV>on my few travel excursions where i've taken a guitar I have taken:</DIV>
<DIV>&nbsp;</DIV>
<DIV>digitech rp100</DIV>
<DIV>digitech rp150 </DIV>
<DIV>&nbsp;</DIV>
<DIV>it worked fine for headphone play while traveling, it fit in my guitar bag w/ my headless guitar.i actually like using the ping pong delays, i don't usually do that much in my setup in my studio, since i chain a lot of things together..</DIV>
<DIV>for soem reason, i've had my zoom g2 for almost 3 yrs and have never taken it, not sure why, b/c it's just as portable. for my upcoming trip, i just bought a behringer v-amp 2, wanted to try something different-i played it briefly tonight-and thought it got some decent sounds. one thing i do think the digitech and the zoom are a bit bigger than the pandoras, they are pretty small correct-probably good for travel.</DIV>
<DIV>&nbsp;</DIV>
<DIV>STANITARIUM-holy man, that's a lot of distortion boxes you have. wow oh wow. i don't think i've even tested a fourth of that amount that you have!!!</DIV>
<DIV>i probably need to get out more....</DIV>
<DIV>happy looping.</DIV>
<DIV>scott</DIV>
<DIV>&nbsp;</DIV></td></tr></table><br>

      
--0-1919668403-1230006238=:22534--

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>From: scott hansen 
>
>...STANITARIUM-holy man, that's a lot of distortion boxes you have. wow oh wow. i don't think i've even tested a fourth of that amount that you have!!!
>i probably need to get out more....
>happy looping.
>scott



'holy man' that has a ring to it...
yeah i'm a tad obsessive-
luckilee there IS a cure-
more pedals
s

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 04:56:43 2008
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Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Mon, 22 Dec 2008 20:56:39 -0800
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Eh,  so what's the Baltimore of guitar-ing sound like? Something like this?
http://www.youtube.com/watch?v=xZ5iwtDyMBI&feature=related 
 All apologies to the city of Baltimore, and its citizens  

 I love Flamenco guitar and was playing one just last night though I can't
say I was playing like that, Great Googley Moogly!!! However my looper was
playing faster than he was ;-) I gotta say using the looperlative to pitch
shift my tracks can make that Flamenco sound like a uke or a Kora, or a
weird nylon string bass, If done right.  I can get some lovely textures by
layering slow finger tremolos and changing the track speed.  
Bill

-----Original Message-----
From: Daryl Shawn [mailto:highhorse@mhorse.com] 
Sent: Monday, December 22, 2008 9:48 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo

Ah man...thanks! There is nothing so simultaneously humbling and 
inspiring to me as a good flamenco player. For harmonic richness, 
technical inventiveness, intensity and soul, I consider this kind of 
playing to be the holy Mecca of guitar-ing.

back to the practice room...

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

> this is pure tone baby
>
> http://www.youtube.com/watch?v=fRcKWR50oH8&feature=related
>
> Luis

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 07:40:53 2008
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So,   Miko B was a total mensch and dropped off his
Experience pedal (along with a ZVEZ FUZZ probe and a wah wah pedal, 
which I"ve never owned)
for me to try out with my newly acquired Zvex Fuzz Factory, pedal.

It's interesting:   what I noticed was that if I used extreme setting on 
one,  that I needed to
use more subtle ones on the other (and I hooked 'em up both ways in 
parallel)
in order to get any kind of sound that wasn't just howling 
uncontrollable feedback.

The Experience is probably less radical than the Fuzz Factory and I 
imagine more guitar
players would find more useable sounds in it,  but  I prefer that the 
Fuzz Factory has
more range of tone and also more chaos implicit in all of it's circuitry 
(after all, there is
an onboard compressor, noise gate and comb filter on the Fuzz Factory).

I think after demoing the two of them that I am going to stick with one 
of my two
distortion/fuzz modelling pedals (the excellent BOSS OD20 and the Digitech
DF-7 DISORTION FACTORY) with the Zvex after all of it.

Both the BOSS and the DIGITECH have digital modellings of the most famous
distortions and fuzzes of yesteryear (Ibanez Tube Screamer, all the BOSS 
pedals,
The ProCO Rat, the BIG MUFF, the DUNLOP FUZZ FACE).

I like the BOSS because it also has the best OCTAVE FUZZ I've ever heard.
The low E string on a Stratocaster sounds like god when you engage this 
effect
that can be added to any of the models.   Additionally,  you can set up
four presets on this baby that takes up two stomp box pedals worth or 
real estate.

The DIGITECH , though , only takes up one stomp box space (Boss sized)
and has one salient feature that I love:

It has put all it's models in sequence from lo midrange up to brittle 
treble, so
that when you sweep the Modelling settings you can get lo to hi effects
(fantastic to control this as you are looping this or putting it through
slicing effects, digital delays or square wave tremelos.
Additionally,  it cuts out completely just extremely briefly between 
each one
so you can play it like a customizeable square wave tremelo.
I love play this game with single chords to generate rhythmic loops.

I'm in Fuzz heaven and will try out the ZVEX FUZZ Probe (and the wah 
wah) tomorrow.

I"m also relieved that I don't need to shell out the $300 USD for the 
Experience.

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 07:58:03 2008
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omg...still doubled over with laughter at this video. thank you for the 
refresher! I especially love the low riffs towards the end where it 
looks like he's playing a million notes, but all you hear is an unbroken 
BRRAAAAAAAAANGGGGG, this horrible sound.  Poor Baltimore!!

I hereby request sound clips of your nylon-string Looperlative work, 
please. Gots to hear that.

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

> Eh,  so what's the Baltimore of guitar-ing sound like? Something like this?
> http://www.youtube.com/watch?v=xZ5iwtDyMBI&feature=related 
>  All apologies to the city of Baltimore, and its citizens  
>
>  I love Flamenco guitar and was playing one just last night though I can't
> say I was playing like that, Great Googley Moogly!!! However my looper was
> playing faster than he was ;-) I gotta say using the looperlative to pitch
> shift my tracks can make that Flamenco sound like a uke or a Kora, or a
> weird nylon string bass, If done right.  I can get some lovely textures by
> layering slow finger tremolos and changing the track speed.  
> Bill
>
> -----Original Message-----
> From: Daryl Shawn [mailto:highhorse@mhorse.com] 
> Sent: Monday, December 22, 2008 9:48 AM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
>
> Ah man...thanks! There is nothing so simultaneously humbling and 
> inspiring to me as a good flamenco player. For harmonic richness, 
> technical inventiveness, intensity and soul, I consider this kind of 
> playing to be the holy Mecca of guitar-ing.
>   

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 09:27:08 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo (goo especially)
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That really is a lot of fuzz. Do you ever connect them all together in a row 
and switch them all on at their most extreme settings? Please say that you 
do. Please. You must have done it at least once.

Steve
www.stevemoyes.org.uk

----- Original Message ----- 
From: <stanitarium@earthlink.net>
Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo 
(goo especially)

> BOSS
>    Bass Overdrive ODB-3
>    Hyper Fuzz FZ-2
>    Super Distortion&Feedbacker
> DOD
>   Harmonic Enhancer
>   MeatBox
>   BuzzBox
> Electro Harmonix
>   4 BigMuffs
>   1 Double Muff
> ProCo
>   2 LM308 Rats
> Jacques FuseBlower
> Orange Sunshine
> MXR BlueBox
> GuyaTone HD-2
> TubeWorks BlueTube
> Sanford&Sonny BlueBeard
> Voodoo Labs SparkleDrive
> Roger Mayer The Fuzz Face
> Arbiter England FuzzFace


From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 09:36:46 2008
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Date: Tue, 23 Dec 2008 10:36:45 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo (goo especially)
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LOL! I think having enough cables would be the most difficult part. By
the way, tap dancing over a plethora of pedals is a fun way to
simulate a Step Sequence Filter Plug-In (looking less "checking
email")

Per
(I'm just a simple Octavia-BigMuff- Wha guy)


On Tue, Dec 23, 2008 at 10:27 AM, Stephen Moyes
<stephenmoyes@blueyonder.co.uk> wrote:
> That really is a lot of fuzz. Do you ever connect them all together in a row
> and switch them all on at their most extreme settings? Please say that you
> do. Please. You must have done it at least once.
>
> Steve
> www.stevemoyes.org.uk
>
> ----- Original Message ----- From: <stanitarium@earthlink.net>
> Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo
> (goo especially)
>
>> BOSS
>>   Bass Overdrive ODB-3
>>   Hyper Fuzz FZ-2
>>   Super Distortion&Feedbacker
>> DOD
>>  Harmonic Enhancer
>>  MeatBox
>>  BuzzBox
>> Electro Harmonix
>>  4 BigMuffs
>>  1 Double Muff
>> ProCo
>>  2 LM308 Rats
>> Jacques FuseBlower
>> Orange Sunshine
>> MXR BlueBox
>> GuyaTone HD-2
>> TubeWorks BlueTube
>> Sanford&Sonny BlueBeard
>> Voodoo Labs SparkleDrive
>> Roger Mayer The Fuzz Face
>> Arbiter England FuzzFace
>
>
>

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 09:59:13 2008
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Date: Tue, 23 Dec 2008 10:59:11 +0100
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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Rick said:
> and a wah wah pedal, which I"ve never owned

Seriously, Rick - you're telling us you've actually never owned a wah
pedal? I can't believe it...

Again (like I always said), changing the effects order is key for
tonal variance. To just sum it up, placing the wah after the
distortion-type effect gives you by far more control over what
happens, so you'd obviously place the wah before the distortion. Or
even use two wahs before and after.

Having the wah before the distortion is especially loads of fun if you
use some kind of distortion which creates those octave-up effects like
the Tycobrahe, because with one of those at full blast and a wah in
front of it, you can sometimes create wild, nonlinear sweeps of the
pronounced frequency of this system by just playing a note (or a fifth
or something) and gently moving the wah.

On a note regarding the secret goo: if it's not that over-the-top
crunch you're looking for, rather some gentle yet punchy distortion
you can apply also to e.g. a drum machine or synth chord with high
spectral density, my secret weapon had been the Electrix filter
factory.

         Rainer

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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: eMusic Anyone?
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You can get your own music on emusic via reverbnation - people seem  
to be more inclined to discover new artists via a subscription model.

Matt Stevens
www.mattstevensguitar.com
mattstevensguitar@btinternet.com




On 23 Dec 2008, at 00:07, phaslem@wightman.ca wrote:

> Hi,
>
> I've been with emusic for about a year now and think that the  
> variety is pretty good.
>
> I've been listening to two recordings by Phil Keaggy lately,  
> Roundabout and Jammed. They both seem to be clips of things he's  
> done in the studio or live that have lots of looping in them and  
> very improvised. Both of these recordings are instrumental for  
> those of you that prefer to avoid his more Christian song lyrics.
>
> Paul Haslem
> Ontario, Canada
>


--Apple-Mail-1-464123399
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
You can get your own music on emusic via reverbnation - people seem to =
be more inclined to discover new artists via a subscription =
model.<div>=A0<br><div> <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; "><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-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: 0px; "><div>Matt =
Stevens</div><div>www.mattstevensguitar.com</div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a></div><div><br></div></span><br =
class=3D"Apple-interchange-newline"></span><br =
class=3D"Apple-interchange-newline"> </div><br><div><div>On 23 Dec 2008, =
at 00:07, <a href=3D"mailto:phaslem@wightman.ca">phaslem@wightman.ca</a> =
wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite"><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Hi,</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; ">I've been =
with emusic for about a year now and think that the variety is pretty =
good.</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; ">I've been listening to two recordings by Phil Keaggy =
lately, Roundabout and Jammed. They both seem to be clips of things he's =
done in the studio or live that have lots of looping in them and very =
improvised. Both of these recordings are instrumental for those of you =
that prefer to avoid his more Christian song lyrics.</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; ">Paul =
Haslem</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Ontario, Canada</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; min-height: 14px; "><br></div> =
</blockquote></div><br></div></body></html>=

--Apple-Mail-1-464123399--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 10:31:49 2008
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Date: Tue, 23 Dec 2008 10:16:44 +0000
From: Os <os@collective.co.uk>
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Tunecore and CDBaby also feed music through to eMusic.

our stuff is there via Tunecore:
http://www.emusic.com/artist/Darkroom-MP3-Download/11950367.html

(NB the first album in the list is not ours! And sadly our latest
album isn't up yet.)


cheers,
os.


2008/12/23 Matt Stevens <mattstevensguitar@btinternet.com>:
> You can get your own music on emusic via reverbnation - people seem to be
> more inclined to discover new artists via a subscription model.
>
> Matt Stevens
> www.mattstevensguitar.com
> mattstevensguitar@btinternet.com
>
>
>
> On 23 Dec 2008, at 00:07, phaslem@wightman.ca wrote:
>
> Hi,
> I've been with emusic for about a year now and think that the variety is
> pretty good.
> I've been listening to two recordings by Phil Keaggy lately, Roundabout and
> Jammed. They both seem to be clips of things he's done in the studio or live
> that have lots of looping in them and very improvised. Both of these
> recordings are instrumental for those of you that prefer to avoid his more
> Christian song lyrics.
> Paul Haslem
> Ontario, Canada
>
>



-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 13:31:15 2008
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Date: Tue, 23 Dec 2008 09:31:14 -0400 (AST)
Subject: Re: BOID ALGORITHMS and the CONTRAINT OF RANDOMNESS
From: =?iso-8859-1?Q?Andr=E9_Donawa?= <andre@andredonawa.com>
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Hey Rick,

That was poetry in motion.

Thanks for sharing,

Andre

http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa

On Mon, December 22, 2008 8:32 pm, Rick Walker wrote:
> We've talked about Boid Algorithms here before.
> They are the plottings of the contraint of randomness found in
> flocking birds.
>
> Here is an amazing video of flocking birds that I just saw:
>
> Wow, talk about morphing patterning in nature.
>
> http://video.yahoo.com/network/100000086?v=2963992&l=100000085
>
>






From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 13:48:27 2008
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Subject: RE: distortion,overdrive,fuzz,crunch,special sauce,secret goo (goo 
	especially)
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> Rainer wrote:
> Generally, I believe that, even without the room acoustics completely
> ruining the picture, in a live context a lot of details get lost most
> of the time.

That's what I mean. Examples are stereo effects (delay's) and we live loo=
pers use them a lot=85oeps ;)

> What's moce interesting is the situation where in the studio synth
> patch A might work better, while in a live situation patch B would be
> the best choice.

That's a good point, especially when you're playing in an ensemble. Synth=
 and guitar sounds don't always blend well in the mix so you have to be c=
areful with that. Changing the EQ settings can do miracles in these cases=
.

> > Another phenomena I see a lot is that many artists have a bad sound.
> Also true, but only to a certain part to blame on the artist, simply
> because you as an artist usually do lack detailed info on the
> properties of the room and the pa system. 

It also depends on the style of music you play. Put a metal band in a cat=
hedral and the sound will be crap. Put an ambient live looper in their an=
d the natural reverb might even contribute to the overall sound. It=92s a=
n idea I already have for a long time, playing live in a cathedral and us=
e the building as a FX unit :) But I agree with you that you can have bad=
 luck with the room, pa or the pa guy. I only send a stereo signal to the=
 FOH mixer for that exact reason. It might not be always the best for you=
 total mix but on average it=92s ok 

> > I think I'm one of the few keyboard players here using guitar stomp b=
oxes.
> (Rainer raises hand)

That=92s 2 then :)

One thing I would like to add to this discussion is that you have to adap=
t yourself to the musical style of the song you are going to play, especi=
ally with an ensemble. Too much is too much you know;  I think my special=
 sauce is just that: I try to play =93functional=94 and =93subtle=94, lis=
ten to the music and try to play something that give you a special feelin=
g, sounds nice or creates a certain atmosphere. But I normally don=92t us=
e a lot of distortion, so it might be interesting to see what kind of sou=
nds I could create with my synths if I would use some special sauce =93di=
stortion, overdrive, fuzz, crunch=94 pedal :) 

Btw: Good luck with your new CD
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw


__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
Meer info op www.scarlet.be

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 13:50:16 2008
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In a message dated 12/23/08 4:59:32 AM, moinsound@googlemail.com writes:


> my secret weapon had been the Electrix filter
> factory.
> 

rainer.....would you care to share some F.F. setting that you find 
interesting?.....or is that too secret?.....:)m



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. (http://www.aol.com/?optin=new-dp&amp;
icid=aolcom40vanity&amp;ncid=emlcntaolcom00000025)

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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 12/23/08 4:59:32 AM, moinsound@googlemail.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">my secret weapon had=20=
been the Electrix filter<BR>
factory.<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.....would you care to share some F.F. setting that you find intere=
sting?.....or is that too secret?.....:)m<BR>
<BR>
<BR>
<BR>
"EVERYTHING YOU KNOW IS WRONG".....firesign theater<BR>
<BR>
new groovy tunes at:<BR>
http://www.myspace.com/klobuchar10<BR>
www.ct-collective.com<BR>
<BR>
<BR>
</FONT><FONT COLOR=3D"#000000" FACE=3D"Geneva" FAMILY=3D"SANSSERIF" SIZE=3D"=
2"></FONT><BR><BR><BR>**************<BR>One site keeps you connected to all=20=
your email: AOL Mail, Gmail, and Yahoo Mail. Try it now. (http://www.aol.com=
/?optin=3Dnew-dp&amp;icid=3Daolcom40vanity&amp;ncid=3Demlcntaolcom00000025)<=
/HTML>

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> I used to LOVE to put my Yamaha FB01 through the Twin Tube heavy metal =
 
> style distortion.  Amazing Jan Hammer kind of sounds.  I used a  
> modified bass patch I think it was.  I still keep the FB01 just  
> because of that.  Don't use it all that much any more.  It was always  =

> for me a one trick pony, but GREAT at that one trick.

Hi Richard,
Yes, I know the FB01. I never liked the 4-operator FM sound but I remembe=
r there was a bass patch in the DX-21 which sounded fantastic, might be t=
hat same patch :) It's a pity the DX-series is so difficult to program. I=
 still use a DX-7 though, another classic.

> And I still have my Roland Jupiter 8.  I love that keyboard so much... =
 
> AND... I still use it a fair bit.  Nothing can touch it's amazing  
> LFO.  I think analogue rules for synth sounds.

Wow...now that's a piece of gear. Never used one myself but I love it's s=
ounds for strings and pads. But what is so special about the LFO? Btw: I =
have been using virtual analogs for the last 10 years. But I've sold them=
 all and bought a new Prophet 08. And I don't regret my decision.

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 14:42:01 2008
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Date: Tue, 23 Dec 2008 15:42:00 +0100
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Subject: Listening to music can lower cholesterol levels and improve heart health
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From: "Sjaak" <tcplugin@scarlet.be>
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I found the following article on the net. You will find different version=
s of it but they all say more or less the same "Listening to music can lo=
wer cholesterol levels and improve heart health, according to a new study=
" 

My source: http://www.andhranews.net/Health/2008/December/21-Listening-mu=
sic-80150.asp

London, Dec 21 : Listening to music can lower cholesterol levels and impr=
ove heart health, according to a new study.

During their study, researchers at Maryland University found that if a pa=
tient listens to 30 minutes a day of their favourite music, it does more =
than relaxing them mentally - it also benefits them physically by expandi=
ng and clearing blood vessels.

The method has been tried on some patients in America and it has been wel=
comed by British experts.

Music is believed to work by triggering the release into the bloodstream =
of nitric oxide, which helps to prevent the build-up of blood clots and h=
armful cholesterol.

The researchers have found that songs by Red Hot Chili Peppers and Madonn=
a can improve endurance, while 18th-century symphonies can improve mental=
 focus.

However, when it comes to the effect on the bloodstream, the key is not t=
he type of music but what the listener prefers. The same is true of volum=
e and tempo.

"The music effect lasts in the bloodstream for only a few seconds but the=
 accumulative benefit of favourite tunes lasts and can be very positive i=
n people of all ages," Times Online quoted Michael Miller, director of th=
e Center for Preventive Cardiology at Maryland University, who conducted =
the study, as saying.

"We were looking for cheaper, nonpharmacological aids to help us improve =
our patients' heart health and we think this is the prescription," he add=
ed.

The study, based on healthy non-smoking men and women with an average age=
 of 36, found the diameter of blood vessels in the upper arm expanded by =
26 percent in volunteers listening to music they found enjoyable.

Miller said blood vessel expansion indicated that nitric oxide was being =
released throughout the body, reducing clots and LDL, a form of cholester=
ol linked to heart attacks.

He also warned that listening to stressful music, which for many in the e=
xperiments included heavy metal and rap, can shrink blood vessels by 6 pe=
rcent.

Miller also advised parents to avoid listening to their teenage children'=
s music if it upset them because it could be the aural equivalent of pass=
ive smoking.

"I like Merseybeat-era Beatles and Julia from their White Album and you c=
annot get two more different types of song, but I think both work for my =
heart," he said.

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
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>> I used to LOVE to put my Yamaha FB01 through the Twin Tube heavy metal
>> style distortion.
>
On Tue, Dec 23, 2008 at 3:06 PM, Sjaak <tcplugin@scarlet.be> wrote:
> Yes, I know the FB01. I never liked the 4-operator FM sound but I remember there was a bass patch in the DX-21 which sounded fantastic, might be that same patch :) It's a pity the DX-series is so difficult to program. I still use a DX-7 though, another classic.
>
>> And I still have my Roland Jupiter 8.  I love that keyboard so much...
>> AND... I still use it a fair bit.  Nothing can touch it's amazing
>> LFO.  I think analogue rules for synth sounds.
>
> Wow...now that's a piece of gear. Never used one myself but I love it's sounds for strings and pads. But what is so special about the LFO? Btw: I have been using virtual analogs for the last 10 years. But I've sold them all and bought a new Prophet 08. And I don't regret my decision.
>
> Sjaak


Wow, long time since I heard anyone mention the FB01. Never got one
myself back in the days, knowing I found only one usable sound in my
old TX81Z. (another FM-synthesis module of the same family). I had a
go at a Jupiter 8 once though and thought it sounded awesome! Fat,
smooth and sharp tone. By the early eighties I lived in a huge flat
with no furniture so fiends in bands sometimes asked to dump their
gear at my place between gigs. This particular week my home was
guested by a Prophet Five and a Jupiter 8. I liked the J8 a bit
better. Having an analog eight track tape machine studio in the flat I
used to record different gear for private A/B sound comparing just out
of interest.

Greetings from Sweden

Per Boysen
"Analog is like mud and digital is like glass" - Spinal Tap

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Ol=E9!

2008/12/19 Toby Graves <carpet8@mac.com>

> Honestly, after hearing a piece of music a few times I just start caring
> about which notes are used and the tone concern fades away.
>
> t
>
>
>
>
> On Dec 19, 2008, at 1:34 PM, Travis Hartnett <travishartnett@gmail.com>
> wrote:
>
> Maybe, but it'd probably also sound not so impressive if you'd mic'ed the
> guitar and not recorded the amp--but that's not the context it was create=
d
> in nor intended to be consumed.  Listeners (other than other guitarists..=
.)
> don't really care how difficult it was for you to make the sound, just th=
at
> it touches them.
> People who can really well with a clean tone are often lost in a high-gai=
n
> situation too.  Learning to control a high-gain guitar rig takes work, it=
's
> a different, but related technique to playing undistorted guitar.
>
> TH
>
> On Fri, Dec 19, 2008 at 1:00 PM, Krispen Hartung <<info@krispenhartung.co=
m>
> info@krispenhartung.com> wrote:
>
>>  It did not take me long to realize that, given any prior, rippin' solo =
I
>> had done using high gain and distortion, during my fusion/hard
>> rock/progressive rock days, if I had tried to articulate the same or sim=
ilar
>> solo using a clean tone, it sounded like crap, sloppy, etc. I realized h=
ow
>> much I was relying gain to play fast and still sound good.
>>
>


--=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
TPO at Jamendo: http://www.jamendo.com

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Ol=E9!<br><br><div class=3D"gmail_quote">2008/12/19 Toby Graves <span dir=
=3D"ltr">&lt;<a href=3D"mailto:carpet8@mac.com">carpet8@mac.com</a>&gt;</sp=
an><br><blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-=
left:1px #ccc solid;padding-left:1ex;">
<div bgcolor=3D"#FFFFFF"><div>Honestly, after hearing a piece of music a fe=
w times I just start caring about which notes are used and the tone concern=
 fades away.&nbsp;</div><div><br></div><font color=3D"#888888"><div>t</div>=
</font><div>
<div></div><div class=3D"Wj3C7c"><div><br><br><div><br></div></div><div><br=
>On Dec 19, 2008, at 1:34 PM, Travis Hartnett &lt;<a href=3D"mailto:travish=
artnett@gmail.com" target=3D"_blank">travishartnett@gmail.com</a>&gt; wrote=
:<br>
<br></div><div></div><blockquote type=3D"cite"><div>Maybe, but it&#39;d pro=
bably also sound not so impressive if you&#39;d mic&#39;ed the guitar and n=
ot recorded the amp--but that&#39;s not the context it was created in nor i=
ntended to be consumed. &nbsp;Listeners (other than other guitarists...) do=
n&#39;t really care how difficult it was for you to make the sound, just th=
at it touches them.<div>

<br><div>People who can really well with a clean tone are often lost in a h=
igh-gain situation too. &nbsp;Learning to control a high-gain guitar rig ta=
kes work, it&#39;s a different, but related technique to playing undistorte=
d guitar.</div>

<div><br></div><div>TH<br><br><div class=3D"gmail_quote">On Fri, Dec 19, 20=
08 at 1:00 PM, Krispen Hartung <span dir=3D"ltr">&lt;<a href=3D"mailto:info=
@krispenhartung.com" target=3D"_blank"></a><a href=3D"mailto:info@krispenha=
rtung.com" target=3D"_blank">info@krispenhartung.com</a>&gt;</span> wrote:<=
br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex">






<div lang=3D"EN-US" vlink=3D"purple" link=3D"blue" bgcolor=3D"white">
<div><span style=3D"font-family:Arial">It did not take me long to realize t=
hat, given any prior,=20
rippin&#39; solo I had done using high gain and distortion, during my fusio=
n/hard=20
rock/progressive rock days, if I had tried to articulate the same or simila=
r=20
solo using a clean tone, it sounded like crap, sloppy, etc. I realized how =
much=20
I was relying gain to play fast and still sound good. &nbsp;</span></div></=
div></blockquote></div></div></div>
</div></blockquote></div></div></div>
</blockquote></div><br><br clear=3D"all"><br>-- <br>The Playing Orchestra: =
<a href=3D"http://www.telefonica.net/web2/tpo">http://www.telefonica.net/we=
b2/tpo</a><br>Chain Tape Collective: <a href=3D"http://www.ct-collective.co=
m">http://www.ct-collective.com</a><br>
TPO at myspace: <a href=3D"http://www.myspace.com/theplayingorchestra">http=
://www.myspace.com/theplayingorchestra</a><br>TPO at Jamendo: <a href=3D"ht=
tp://www.jamendo.com">http://www.jamendo.com</a><br>

------=_Part_111117_12438377.1230043909603--

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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Korg AX 3000G trade offer
Date: Tue, 23 Dec 2008 09:58:16 -0500
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I am offering my Korg AX 3000G for trade. It has many cool sounds but =
for me it's too big. Like new with box and docs. They are now $200.00 =
online. Anyone want to trade for something cool? I don't like to sell =
gear and I would just buy something else anyway so... what ya got? =
Contact me offlist if you like. jeff_d@embarqmail.com

Happy Holidays'

Jeff

Korg vids
http://www.youtube.com/watch?v=3D2xTTQOBbiPQ

http://www.youtube.com/watch?v=3DcKnEXI3gFyA


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<DIV><FONT face=3DArial size=3D2>I am offering my Korg AX 3000G for =
trade. It has=20
many cool sounds but for me it's too big. Like new with box and docs.=20
</FONT><FONT face=3DArial size=3D2>They are now $200.00 online. Anyone =
want to trade=20
for something cool? I don't like to sell gear and I would just buy =
something=20
else anyway so... what ya got? Contact me offlist if you like. <A=20
href=3D"mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</A></FONT></D=
IV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Happy Holidays'</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Korg vids</FONT></DIV>
<DIV><FONT face=3DArial size=3D2>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3D2xTTQOBbiPQ">http://www.youtube.=
com/watch?v=3D2xTTQOBbiPQ</A></FONT></DIV></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3DcKnEXI3gFyA">http://www.youtube.=
com/watch?v=3DcKnEXI3gFyA</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.youtube.com/watch?v=3D2xTTQOBbiPQ"></A></FONT>&nbsp;</=
DIV></BODY></HTML>

------=_NextPart_000_0006_01C964E4.F9A15230--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 15:00:47 2008
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I will be out of the office starting  12/23/2008 and will not return until
12/24/2008.

For telecom issues, Genesys, Video or Audio Conferencing contact Greg
Bouffard at 323 932 3793.

***** PLEASE NOTE ***** This E-Mail/telefax message and any
documents accompanying this transmission may contain privileged
and/or confidential information and is intended solely for the
addressee(s) named above. If you are not the intended
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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 15:06:34 2008
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Subject: Re:synth keyboard piano advice
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From: "Sjaak" <tcplugin@scarlet.be>
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Hey buddy :)
I'm fine, mentally preparing for the x-mas dinners here and everywhere ;)=
 

Regarding good Wulritzer,hammond organ,mellotron and fender rhodes sounds=
, you should check out the Clavia Electro. It only does these type of sou=
nds but very very good. You can load x-change the samples, it's small and=
 thus light and well build. I believe Clavia just released the version 3,=
 so a new version 2 which I have tested a few years ago is now a bargain,=
 990,- Eur.

http://www.nordkeyboards.com/main.asp?tm=3DProducts&clpm=3DNord_Electro_2=
&clnem=3DInformation 

http://www.soundonsound.com/sos/Dec01/articles/nordelectro.asp

http://www.thomann.de/be/search_dir.html?sw=3DELECTRO+clavia

I almost bought the Electro 2, but because I also needed other synth soun=
ds I decided not to so I bought a Yamaha from the Motif ES serie, the S90=
ES. The Motif ES serie has now been replaced by the Motif XS, they all so=
und very good. You have them in 61, 76 and 88 keys. Usually these type of=
 synths are not too expensive second hand. Used Electro's can be expensiv=
e.

Sjaak


> Hey Sjaak how are you man!
> I am writting you because i need your advice; i have a korg triton but =
ive grown tired of its outdated sounds and thinking about selling it, so =
now i am on a hunt for a good keyboard that has great vintage sounds,ive =
come to realize that i will never grown tired of good Wulritzer,hammond o=
rgan,mellotron and fender rhodes,at the end this are the ones i like to l=
isten the most in music.I know youll probably mention software and please=
 tell me about it as well,but i am interested in one that has this realis=
tic sounds integrated
> can you spare a tip?
> cheers
> Luis
> 
> 
>       
> 

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
Meer info op www.scarlet.be

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Sorry, this message was supposed to go to someone else but ended up on th=
e LD mailing list due to the reply-to issue of yahoo.com
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
Meer info op www.scarlet.be

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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <49509600.9020209@cruzio.com>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Tue, 23 Dec 2008 10:26:59 -0500
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Rick, that OD 20 sounds cool, I wonder if that OCTAVE FUZZ is like the one I 
loved on my Boss GT 5. That was a wicked fuzz! Listen to "Schizosphere" on 
my page. Of course I was using mucho other stuff with it.
Digitech does do some good models. My RP 250 has 13 fuzz/distortion models 
and what I like is that it has a seperate section for amp models so I can do 
a say Rat or Arbiter Fuzz Face with a Twin or Boogie. Also the wahs and 
whammys are great,IMO. I am not saying it's like the real thing but it does 
give alot of combinations. Those pedals from Digitech are no joke. I love my 
Bad Monkey! Also the x series Digidelay is very nice.
UPDATE: My Fuzz Factory arrival date 1-2-09!

Jeff

http://www.thisphase.org/jeffdukedotorg.html
http://www.myspace.com/loopsinphasespace
http://www.vimeo.com/jeffduke
http://www.youtube.com/user/sticky899
http://www.sugarat.org/tecbab/

Ad astra per alia porci - Steinbeck
(To the stars on the wings of a pig.)

----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, December 23, 2008 2:40 AM
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo


> I think after demoing the two of them that I am going to stick with one
> of my two
> distortion/fuzz modelling pedals (the excellent BOSS OD20 and the Digitech
> DF-7 DISORTION FACTORY) with the Zvex after all of it.
>
> Both the BOSS and the DIGITECH have digital modellings of the most famous
> distortions and fuzzes of yesteryear (Ibanez Tube Screamer, all the BOSS
> pedals,
> The ProCO Rat, the BIG MUFF, the DUNLOP FUZZ FACE).
>
> I like the BOSS because it also has the best OCTAVE FUZZ I've ever heard.
> The low E string on a Stratocaster sounds like god when you engage this
> effect
> that can be added to any of the models.   Additionally,  you can set up
> four presets on this baby that takes up two stomp box pedals worth or
> real estate.
>
> The DIGITECH , though , only takes up one stomp box space (Boss sized)
> and has one salient feature that I love:
>
> It has put all it's models in sequence from lo midrange up to brittle
> treble, so
> that when you sweep the Modelling settings you can get lo to hi effects
> (fantastic to control this as you are looping this or putting it through
> slicing effects, digital delays or square wave tremelos.
> Additionally,  it cuts out completely just extremely briefly between
> each one
> so you can play it like a customizeable square wave tremelo.
> I love play this game with single chords to generate rhythmic loops.
>
> I'm in Fuzz heaven and will try out the ZVEX FUZZ Probe (and the wah
> wah) tomorrow.
>
> I"m also relieved that I don't need to shell out the $300 USD for the
> Experience.
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.10.0/1861 - Release Date: 12/22/2008 
11:23 AM

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 16:14:50 2008
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From: o.malhomme@laposte.net <o.malhomme@laposte.net>
Subject: RE: distortion,overdrive,fuzz,crunch
Date: Tue, 23 Dec 2008 17:14:48 +0100
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Regarding this secret weapons, one must keep in mind that a special 
recipe for the public can be a very unspecial to us.
A example: the Ebow.
Everyone seems to think I come from Mars if I use one while there's 
nothing special to it (I mean, I bet 99% of the guitar players of this 
list have one...).

Now, we have the tools that a remade to make anyone frown (VG-8, VG-99 
in my case, but  designed for sound mangling and designing) and basic 
tools to add a special little something...

I like a old fuzz by Ibanez (emerald green one). Like the fact that the 
not seems like it swells...

I have a Robert Keeley modified DS-1 (also a SD-1 but I don't use it 
that much. Overdrive is a very different beast...)
I have a TubeMan which is more interesting a crunch pedal than a n 
overdrive..
I TOTALLY DEPEND on a multicomp EBS. I know it is supposedly made for 
bass but it inflates any guitar and sound gorgeous.

This is the very epitome of secret goo.
I mean, It doesn't really change the sound, just it sounds way better 
with it. Transparent compression, not overdone...

Then I have a Morley Wah 2 that behaves weirdly. For some reasons, 
engaged it distort. It has a very wide wah effect, so i use it for 
filtering and filter sweep effets. I thought of repairing it  but I 
just like it's distortion, unusual.

Olivier


--Apple-Mail-2-486101860
Content-Transfer-Encoding: 7bit
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	charset=US-ASCII

<fontfamily><param>Lucida Grande</param>Regarding this secret weapons,
one must keep in mind that a special recipe for the public can be a
very unspecial to us.

A example: the Ebow.

Everyone seems to think I come from Mars if I use one while there's
nothing special to it (I mean, I bet 99% of the guitar players of this
list have one...).


Now, we have the tools that a remade to make anyone frown (VG-8, VG-99
in my case, but  designed for sound mangling and designing) and basic
tools to add a special little something...


I like a old fuzz by Ibanez (emerald green one). Like the fact that
the not seems like it swells...


I have a Robert Keeley modified DS-1 (also a SD-1 but I don't use it
that much. Overdrive is a very different beast...)

I have a TubeMan which is more interesting a crunch pedal than a n
overdrive..

I TOTALLY DEPEND on a multicomp EBS. I know it is supposedly made for
bass but it inflates any guitar and sound gorgeous.


This is the very epitome of secret goo.

I mean, It doesn't really change the sound, just it sounds way better
with it. Transparent compression, not overdone...


Then I have a Morley Wah 2 that behaves weirdly. For some reasons,
engaged it distort. It has a very wide wah effect, so i use it for
filtering and filter sweep effets. I thought of repairing it  but I
just like it's distortion, unusual.


Olivier


</fontfamily>
--Apple-Mail-2-486101860--


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From: Mikkoz <biffoz@gmail.com>
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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>
> The Experience is probably less radical than the Fuzz Factory and I imagine
> more guitar
> players would find more useable sounds in it,  but  I prefer that the Fuzz
> Factory has
> more range of tone and also more chaos implicit in all of it's circuitry
> (after all, there is
> an onboard compressor, noise gate and comb filter on the Fuzz Factory).


The thing about the FF is that I sacrifice tone for settings that make it do
it's stunts properly, so I need other coloration devices or fuzzes to satisy
that requirement. My Vexxer's are all stunt devices.

The EXP is more controllable mainly, but there's that pinchy grain of high
end in normal mode that just does it for me. I can have my wah all notched
back and it still cuts, then when I rock forward slightly it brings out that
high overtone. Really satisfying. Another thing mentioned in a post below is
the ability to get non-linear octave jumps where you just can't believe an
entire passage actually jumped an octave below it's played register
randomly. It's hard to describe but almost sounds like a computer edit, but
it's not! The Big Muff will do this at times as well. I'm such a goof that I
gave my last (really good one too!) Big Muff to a guy who was all excited
about it after testing it. Merry X-mas dude! . . . . and it was gone. 8-(


> I think after demoing the two of them that I am going to stick with one of
> my two
> distortion/fuzz modelling pedals (the excellent BOSS OD20 and the Digitech
> DF-7 DISORTION FACTORY) with the Zvex after all of it.
>

The vast majority of my non-special solo sound is Boss OD's and Disto's.
They have so many with subtle differences and they really give you a large
pallette to fine tune for anything. I've been attracted to the OD20 and will
probably get one in the future.


> I'm in Fuzz heaven and will try out the ZVEX FUZZ Probe (and the wah wah)
> tomorrow.


If you're putting the Vexxer after anything you lose your ability to do your
theremin like moves using the guitar's volume knob. You've gotta at least
try that. The FF does it great. The Probe is just a FF with the copper
proximity plate, so you're really covered with the FF you already own.


> I"m also relieved that I don't need to shell out the $300 USD for the
> Experience.
>

So you say . . . *-)

Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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<div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">The Experience is probably less radical than the Fuzz Factory and I imagine more guitar<br>

players would find more useable sounds in it, &nbsp;but &nbsp;I prefer that the Fuzz Factory has<br>
more range of tone and also more chaos implicit in all of it&#39;s circuitry (after all, there is<br>
an onboard compressor, noise gate and comb filter on the Fuzz Factory).</blockquote><div><br>The thing about the FF is that I sacrifice tone for settings that make it do it&#39;s stunts properly, so I need other coloration devices or fuzzes to satisy that requirement. My Vexxer&#39;s are all stunt devices.<br>
</div><div><br>The EXP is more controllable mainly, but there&#39;s that pinchy grain of high end in normal mode that just does it for me. I can have my wah all notched back and it still cuts, then when I rock forward slightly it brings out that high overtone. Really satisfying. Another thing mentioned in a post below is the ability to get non-linear octave jumps where you just can&#39;t believe an entire passage actually jumped an octave below it&#39;s played register randomly. It&#39;s hard to describe but almost sounds like a computer edit, but it&#39;s not! The Big Muff will do this at times as well. I&#39;m such a goof that I gave my last (really good one too!) Big Muff to a guy who was all excited about it after testing it. Merry X-mas dude! . . . . and it was gone. 8-(<br>
&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I think after demoing the two of them that I am going to stick with one of my two<br>

distortion/fuzz modelling pedals (the excellent BOSS OD20 and the Digitech<br>
DF-7 DISORTION FACTORY) with the Zvex after all of it.<br>
</blockquote><div><br>The vast majority of my non-special solo sound is Boss OD&#39;s and Disto&#39;s. They have so many with subtle differences and they really give you a large pallette to fine tune for anything. I&#39;ve been attracted to the OD20 and will probably get one in the future.<br>
&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I&#39;m in Fuzz heaven and will try out the ZVEX FUZZ Probe (and the wah wah) tomorrow.</blockquote>
<div><br>If you&#39;re putting the Vexxer after anything you lose your ability to do your theremin like moves using the guitar&#39;s volume knob. You&#39;ve gotta at least try that. The FF does it great. The Probe is just a FF with the copper proximity plate, so you&#39;re really covered with the FF you already own. <br>
&nbsp;</div><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">I&quot;m also relieved that I don&#39;t need to shell out the $300 USD for the Experience.<br>

</blockquote></div><br>So you say . . . *-)<br clear="all"><br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the usual distractions!&quot;<br>

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Subject: Re: distortion,overdrive,fuzz,crunch
Date: Tue, 23 Dec 2008 11:46:07 -0500
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I love to watch others when I show them my Fernandes w/sustainor. =
specialy guitarists that haven't heard one. I tell em "this guitar has =
alot of sustain" then hit a not and hold it, and hold it, then with no =
picking move around the neck, hit the harmonix switch, etc. after a bit =
they are going WTF! Then I'll let them play it. It scares the hell out =
of them at first. Bwa ha ha!

Jeff
  ----- Original Message -----=20
  From: o.malhomme@laposte.net=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Tuesday, December 23, 2008 11:14 AM
  Subject: RE: distortion,overdrive,fuzz,crunch


  Regarding this secret weapons, one must keep in mind that a special =
recipe for the public can be a very unspecial to us.
  A example: the Ebow.
  Everyone seems to think I come from Mars if I use one while there's =
nothing special to it (I mean, I bet 99% of the guitar players of this =
list have one...).

  Now, we have the tools that a remade to make anyone frown (VG-8, VG-99 =
in my case, but designed for sound mangling and designing) and basic =
tools to add a special little something...

  I like a old fuzz by Ibanez (emerald green one). Like the fact that =
the not seems like it swells...

  I have a Robert Keeley modified DS-1 (also a SD-1 but I don't use it =
that much. Overdrive is a very different beast...)
  I have a TubeMan which is more interesting a crunch pedal than a n =
overdrive..
  I TOTALLY DEPEND on a multicomp EBS. I know it is supposedly made for =
bass but it inflates any guitar and sound gorgeous.

  This is the very epitome of secret goo.
  I mean, It doesn't really change the sound, just it sounds way better =
with it. Transparent compression, not overdone...

  Then I have a Morley Wah 2 that behaves weirdly. For some reasons, =
engaged it distort. It has a very wide wah effect, so i use it for =
filtering and filter sweep effets. I thought of repairing it but I just =
like it's distortion, unusual.

  Olivier




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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.10.0/1861 - Release Date: =
12/22/2008 11:23 AM

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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>I love to watch others when I show them =
my=20
Fernandes w/sustainor. specialy guitarists that haven't heard one. I =
tell em=20
"this guitar has alot of sustain" then hit a not and hold it, and hold =
it, then=20
with no picking move around the neck, hit the harmonix switch, etc. =
after a bit=20
they are going WTF! Then I'll let them play it. It scares the hell out =
of them=20
at first. Bwa ha ha!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3Do.malhomme@laposte.net=20
  href=3D"mailto:o.malhomme@laposte.net">o.malhomme@laposte.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> Tuesday, December 23, =
2008 11:14=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> RE:=20
  distortion,overdrive,fuzz,crunch</DIV>
  <DIV><BR></DIV>Regarding this secret weapons, one must keep in mind =
that a=20
  special recipe for the public can be a very unspecial to us.<BR>A =
example: the=20
  Ebow.<BR>Everyone seems to think I come from Mars if I use one while =
there's=20
  nothing special to it (I mean, I bet 99% of the guitar players of this =
list=20
  have one...).<BR><BR>Now, we have the tools that a remade to make =
anyone frown=20
  (VG-8, VG-99 in my case, but designed for sound mangling and =
designing) and=20
  basic tools to add a special little something...<BR><BR>I like a old =
fuzz by=20
  Ibanez (emerald green one). Like the fact that the not seems like it=20
  swells...<BR><BR>I have a Robert Keeley modified DS-1 (also a SD-1 but =
I don't=20
  use it that much. Overdrive is a very different beast...)<BR>I have a =
TubeMan=20
  which is more interesting a crunch pedal than a n overdrive..<BR>I =
TOTALLY=20
  DEPEND on a multicomp EBS. I know it is supposedly made for bass but =
it=20
  inflates any guitar and sound gorgeous.<BR><BR>This is the very =
epitome of=20
  secret goo.<BR>I mean, It doesn't really change the sound, just it =
sounds way=20
  better with it. Transparent compression, not overdone...<BR><BR>Then I =
have a=20
  Morley Wah 2 that behaves weirdly. For some reasons, engaged it =
distort. It=20
  has a very wide wah effect, so i use it for filtering and filter sweep =
effets.=20
  I thought of repairing it but I just like it's distortion,=20
  unusual.<BR><BR>Olivier<BR><BR><?/fontfamily>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.10.0/1861 -=20
  Release Date: 12/22/2008 11:23 AM<BR></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 16:46:39 2008
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Date: Tue, 23 Dec 2008 08:46:38 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: distortion,overdrive,fuzz,crunch
To: Loopers-Delight@loopers-delight.com
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Thanks for the tip on the EBS multicomp, I've been looking for a new stompb=
ox comp. =0A=0AYour comment about the broken wah pedal reminded me of an in=
terview many years ago with Adrian Belew. He said something like, "If your =
pickup is broken, go with it. Make it part of your sound." :)=0A=0A-G=0A=0A=
=A0=0A----- Original Message ----=0AFrom: "o.malhomme@laposte.net" <o.malho=
mme@laposte.net>=0ATo: Loopers-Delight@loopers-delight.com=0ASent: Tuesday,=
 December 23, 2008 8:14:48 AM=0ASubject: RE: distortion,overdrive,fuzz,crun=
ch=0A=0ARegarding this secret weapons, one must keep in mind that a special=
 recipe for the public can be a very unspecial to us.=0AA example: the Ebow=
.=0AEveryone seems to think I come from Mars if I use one while there's not=
hing special to it (I mean, I bet 99% of the guitar players of this list ha=
ve one...).=0A=0ANow, we have the tools that a remade to make anyone frown =
(VG-8, VG-99 in my case, but=A0 designed for sound mangling and designing) =
and basic tools to add a special little something...=0A=0AI like a old fuzz=
 by Ibanez (emerald green one). Like the fact that the not seems like it sw=
ells...=0A=0AI have a Robert Keeley modified DS-1 (also a SD-1 but I don't =
use it that much. Overdrive is a very different beast...)=0AI have a TubeMa=
n which is more interesting a crunch pedal than a n overdrive..=0AI TOTALLY=
 DEPEND on a multicomp EBS. I know it is supposedly made for bass but it in=
flates any guitar and sound gorgeous.=0A=0AThis is the very epitome of secr=
et goo.=0AI mean, It doesn't really change the sound, just it sounds way be=
tter with it. Transparent compression, not overdone...=0A=0AThen I have a M=
orley Wah 2 that behaves weirdly. For some reasons, engaged it distort. It =
has a very wide wah effect, so i use it for filtering and filter sweep effe=
ts. I thought of repairing it=A0 but I just like it's distortion, unusual.=
=0A=0AOlivier=0A=0A=0A      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:01:56 2008
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Date: Tue, 23 Dec 2008 10:01:51 -0800
From: Rick Walker <looppool@cruzio.com>
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--Rick said: 
       <and a wah wah pedal, which I"ve never owned> 

to which, Rainer replied: 
      "Seriously, Rick - you're telling us you've actually never owned a wah 
         pedal? I can't believe it... " 

Rick again: 


Yeah,  isn't that a hoot, Rainer.      I always sort of really disliked most rapid shiftings of timbre from 
lo to hi that occur with envelope followers and wah wah pedals to be honest. 

In fact,  I hate envelope followers (or those that I've met in the past). 
My friend John Connell probably thinks I'm nuts as he loves the use of those instruments 
in 70's and 80's funk,  but I just don't like them. 

I just think wah wah and envelope followers sound really cheesy, 

that being said,  I can now see how great it would be to have foot control 
of the sweep of timbre on all these distortion pedals we've been talking about 

Honestly,   I have sort of noticed that people tend to like more limited sweeping bands with wah wahs 
(less extreme)    what ......... 

.............NO WAIT!!!!!.............this has to be a new topic, obviously. 


I'll copy this and put it into a new topic.   Hold on: 

one minute later: 

********** 
Okay, done. 

Who makes the most extreme wah wah pedal (the greatest tonal range)? 

I understand that a lot of guitarists actually rather like wah wahs with less range (like the 
original Crybaby). 

What wahs are out there and what do you all like? 


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Date: Tue, 23 Dec 2008 10:04:31 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: question for those using presonus firefox and mobius
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hey gang,
i am having problems with mobius recognizing the firebox drivers on my macbook (PC side i just installed parallels)everything seems cool i can play audio etc. but the drivers arent listed in mobius,any ideas?
thanx
Luis

www.myspace.com/luisangulocom


      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:11:55 2008
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Date: Tue, 23 Dec 2008 19:11:54 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: question for those using presonus firefox and mobius
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> i am having problems with mobius recognizing the firebox drivers on my macbook (PC side i just installed parallels)everything seems cool i can play audio etc.

You're sure you tested to play audio via ASIO drivers? I seem to
remember that Mobius only uses those, so to properly check, make sure
you use that other application which works also with ASIO drivers.

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:14:13 2008
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Date: Tue, 23 Dec 2008 10:07:33 -0800 (PST)
From: margaret noble <margaretnoble2000@yahoo.com>
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Subject: "Incidental," SD and SF Shows in January (Gig Spam :-)
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"Incidental"

A collaboration between Leslie Seiter's Little Known Dance Theatre, Lux Boreal Dance Troop and sound artist Margaret Noble. This performance combines dance, installation and surround sound.

San Diego: Sushi, Center for Urban Arts 
390 Eleventh Avenue at J Street, Downtown
(Pay what you can)

Thursday, January 15th, 8pm
Friday, January 16th, 8pm
Saturday, January 17th, 8pm
Sunday, January 18th, 7pm


San Francisco: Counterpulse
 1310 Mission Street, San Francisco, CA 94103
(Times and price TBA)

Friday, January 30th
Saturday, January 31st

More Info on all artists and venues can be found:

http://littleknowndance.com/little%20known.html
http://www.luxboreal.com/
http://margaretnoble.net/
http://sushiart.org/
http://www.counterpulse.org/

PLEASE FORWARD THIS EMAIL TO ANY INTERESTED PERSONS,
THANK YOU FOR YOUR SUPPORT!



      


      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><blockquote style="border-left: 2px solid rgb(16, 16, 255); margin-left: 5px; padding-left: 5px;"><div id="yiv1146035802"><table border="0" cellpadding="0" cellspacing="0"><tbody><tr><td style="font-family: inherit; font-style: inherit; font-variant: inherit; font-weight: inherit; font-size: inherit; line-height: inherit; font-size-adjust: inherit; font-stretch: ;" valign="top"><div id="yiv1720457747"><font style="color: rgb(128, 0, 0);" size="5"><span style="font-weight: bold;">"Incidental"</span></font><br style="font-weight: bold; color: rgb(128, 0, 0);"><br style="font-weight: bold; color: rgb(128, 0, 0);"><span style="font-weight: bold; font-style: italic; color: rgb(128, 0, 0);">A collaboration between Leslie Seiter's Little Known Dance Theatre, Lux Boreal Dance Troop and sound artist Margaret Noble. This performance combines dance, installation and
 surround sound.</span><br style="font-weight: bold; font-style: italic; color: rgb(128, 0, 0);"><br style="font-weight: bold; color: rgb(128, 0, 0);"><span style="font-weight: bold; color: rgb(128, 0, 0);">San Diego:</span><strong style="font-weight: bold; color: rgb(128, 0, 0);"><span style="font-style: italic;"> Sushi, Center for Urban Arts </span><br style="font-style: italic;"></strong><strong style="font-weight: normal; color: rgb(128, 0, 0);">390 Eleventh Avenue at J Street, Downtown</strong><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">(Pay what you can)</span><br style="color: rgb(128, 0, 0);"><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">Thursday, January 15th, 8pm</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">Friday, January 16th, 8pm</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">Saturday, January 17th, 8pm</span><br
 style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">Sunday, January 18th, 7pm</span><br style="font-weight: bold; color: rgb(128, 0, 0);"><br style="font-weight: bold; color: rgb(128, 0, 0);"><br style="font-weight: bold; color: rgb(128, 0, 0);"><span style="font-weight: bold; color: rgb(128, 0, 0);">San Francisco:</span><span style="font-weight: bold; font-style: italic; color: rgb(128, 0, 0);"> Counterpulse</span><br style="font-weight: bold; color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);"> 1310 Mission Street, San Francisco, CA 94103</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">(Times and price TBA)</span><br style="color: rgb(128, 0, 0);"><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">Friday, January 30th</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">Saturday, January 31st</span><br style="color: rgb(128, 0, 0);"><br
 style="font-weight: bold; color: rgb(128, 0, 0);"><span style="font-weight: bold; color: rgb(128, 0, 0);">More Info on all artists and venues can be found:<br><br style="font-weight: bold;"></span><span style="color: rgb(128, 0, 0);">http://littleknowndance.com/little%20known.html</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">http://www.luxboreal.com/</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">http://margaretnoble.net/</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">http://sushiart.org/</span><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">http://www.counterpulse.org/</span><span style="font-weight: bold;"><br style="color: rgb(128, 0, 0);"><br style="color: rgb(128, 0, 0);"><span style="color: rgb(128, 0, 0);">PLEASE FORWARD THIS EMAIL TO ANY INTERESTED PERSONS,<br>THANK YOU FOR YOUR
 SUPPORT!</span></span><br></div></td></tr></tbody></table><br>

      </div></blockquote></td></tr></table><br>

      
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Date: Tue, 23 Dec 2008 19:11:57 +0100
From: "mark francombe" <mark@markfrancombe.com>
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Subject: Re: WAH WAHS was distortion overdrive fuzz crunc
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My fave was a un-named (as in Im not sure what it was, not that I wont tell=
)
COMBINED fuzz wah. now the fuzz was completely awfull on its own, but with
another distortion afterwards it was completely brilliant... not a big
throw, but just cutting... (check out "Funeral" by Uncle Ian in my Mp3
archive at http://www.markfrancombe.com/empathree/archive.html) I used it
thru-out the 80=B4s and then I gave it to someone... here in Oslo actually,
Hmm maybe they still have it...

incidentaly.. one of my favorite effects just died... or rather (and Im
almost in tears here... I killed it - for complete sad story, see new threa=
d
that I will write.... NOW)

m

On Tue, Dec 23, 2008 at 7:01 PM, Rick Walker <looppool@cruzio.com> wrote:

> --Rick said:      <and a wah wah pedal, which I"ve never owned>
> to which, Rainer replied:     "Seriously, Rick - you're telling us you've
> actually never owned a wah        pedal? I can't believe it... "
> Rick again:
>
> Yeah,  isn't that a hoot, Rainer.      I always sort of really disliked
> most rapid shiftings of timbre from lo to hi that occur with envelope
> followers and wah wah pedals to be honest.
> In fact,  I hate envelope followers (or those that I've met in the past).
> My friend John Connell probably thinks I'm nuts as he loves the use of th=
ose
> instruments in 70's and 80's funk,  but I just don't like them.
> I just think wah wah and envelope followers sound really cheesy,
> that being said,  I can now see how great it would be to have foot contro=
l
> of the sweep of timbre on all these distortion pedals we've been talking
> about
> Honestly,   I have sort of noticed that people tend to like more limited
> sweeping bands with wah wahs (less extreme)    what .........
> .............NO WAIT!!!!!.............this has to be a new topic,
> obviously.
>
> I'll copy this and put it into a new topic.   Hold on:
> one minute later:
> ********** Okay, done.
> Who makes the most extreme wah wah pedal (the greatest tonal range)?
> I understand that a lot of guitarists actually rather like wah wahs with
> less range (like the original Crybaby).
> What wahs are out there and what do you all like?
>
>


--=20
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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My fave was a un-named (as in Im not sure what it was, not that I wont tell=
) COMBINED fuzz wah. now the fuzz was completely awfull on its own, but wit=
h another distortion afterwards it was completely brilliant... not a big th=
row, but just cutting... (check out &quot;Funeral&quot; by Uncle Ian in my =
Mp3 archive at <a href=3D"http://www.markfrancombe.com/empathree/archive.ht=
ml">http://www.markfrancombe.com/empathree/archive.html</a>) I used it thru=
-out the 80=B4s and then I gave it to someone... here in Oslo actually, Hmm=
 maybe they still have it... <br>
<br>incidentaly.. one of my favorite effects just died... or rather (and Im=
 almost in tears here... I killed it - for complete sad story, see new thre=
ad that I will write.... NOW)<br><br>m<br><br><div class=3D"gmail_quote">
On Tue, Dec 23, 2008 at 7:01 PM, Rick Walker <span dir=3D"ltr">&lt;<a href=
=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<b=
r><blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204=
, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
--Rick said:  &nbsp; &nbsp; &nbsp;&lt;and a wah wah pedal, which I&quot;ve =
never owned&gt; <br>
to which, Rainer replied:  &nbsp; &nbsp; &quot;Seriously, Rick - you&#39;re=
 telling us you&#39;ve actually never owned a wah  &nbsp; &nbsp; &nbsp; &nb=
sp;pedal? I can&#39;t believe it... &quot; <br>
Rick again: <br>
<br>
Yeah, &nbsp;isn&#39;t that a hoot, Rainer. &nbsp; &nbsp; &nbsp;I always sor=
t of really disliked most rapid shiftings of timbre from lo to hi that occu=
r with envelope followers and wah wah pedals to be honest. <br>
In fact, &nbsp;I hate envelope followers (or those that I&#39;ve met in the=
 past). My friend John Connell probably thinks I&#39;m nuts as he loves the=
 use of those instruments in 70&#39;s and 80&#39;s funk, &nbsp;but I just d=
on&#39;t like them. <br>

I just think wah wah and envelope followers sound really cheesy, <br>
that being said, &nbsp;I can now see how great it would be to have foot con=
trol of the sweep of timbre on all these distortion pedals we&#39;ve been t=
alking about <br>
Honestly, &nbsp; I have sort of noticed that people tend to like more limit=
ed sweeping bands with wah wahs (less extreme) &nbsp; &nbsp;what ......... =
<br>
.............NO WAIT!!!!!.............this has to be a new topic, obviously=
. <br>
<br>
I&#39;ll copy this and put it into a new topic. &nbsp; Hold on: <br>
one minute later: <br>
********** Okay, done. <br>
Who makes the most extreme wah wah pedal (the greatest tonal range)? <br>
I understand that a lot of guitarists actually rather like wah wahs with le=
ss range (like the original Crybaby). <br>
What wahs are out there and what do you all like? <br>
<br>
</blockquote></div><br><br clear=3D"all"><br>-- <br><a href=3D"http://www.m=
arkfrancombe.com">www.markfrancombe.com</a><br><a href=3D"http://vimeo.com/=
user825094">http://vimeo.com/user825094</a><br><a href=3D"http://uk.youtube=
.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href=3D"http://www.myspace.com/markfrancombe">http://www.myspace.com/mar=
kfrancombe</a><br><a href=3D"http://www.looop.no">www.looop.no</a><br>

------=_Part_104432_32417941.1230055917986--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:30:21 2008
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Date: Tue, 23 Dec 2008 10:30:20 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: Re: WAH WAHS      was   distortion overdrive fuzz crunc
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>>Who makes the most extreme wah wah pedal (the greatest tonal range)? 

IMO, the Ibanez WD-7 "Weeping Demon" is the best wah pedal going. It is very tunable and very well made. Check out the reviews.

-George



      

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:34:01 2008
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From: "mark francombe" <mark@markfrancombe.com>
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Subject: I KILLED MY SPACE STATION!! Boo Hoo!!!! HEEEEELLLLLPPPPPP!!!!!!
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Why cant I keep my stupid hands off...?

 So I just killed my Digitech Space Station... Well It died under surgery...

Im not completely sure what blew, but it maybe the light sensitive resistor
thing...

I have had a prob with it for a while, the buttons were stuck, and the pedal
seemed to be less sensitive.. so I opened it up and figured out that the
buttons could be fixed quite easily.. but when I saw the pedal... WHAT NO
POT???
Nope... its got the strangest construction.
The pedal has an LED on it, that moves closer to a Light dependant resister
(or what ever they are called) and a VERY strange one at that...(not at all
like the ones you stick in circuit bent things.. or I do...!!)

I fixed the pedal problem by bending the led mounting closer.. (looked like
it had moved).. I then... like an idiot, I start to think (dont think...
Mark DONT THINK... Never wise...) I think... if I can connect a regular pot
onto the resister, maybe I can do without the pedal (never use it, all my
effects sit on a table) AND.. maybe insert a jack and send the connection a
small voltage from an CV sequencer (on my modular or somewhere)... after a
bit of poking with a Multimeter, to try to figure out what resistance the
light dependant resistor is (failed) I try shoving in a resistor... hmm..
not exacly BANG, but... fizzle... and now the resister doesnt resist.. the
pedal doesnt work... and Im fcked... Now I HAVE to get my mod to work, or..
Ive lown something else... like a chip...

Here is a word for the wise:

Never try to circuit bend something that you actually WANT!!!!!

Im so sad... any electonics wizards on the list..? I would send it ANYWHERE
to be fixed...

Yours, feeling a bit silly

Christmas...? Humbug...


Mark



-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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Why cant I keep my stupid hands off...?<br><br>&nbsp;So I just killed my Digitech Space Station... Well It died under surgery...<br><br>Im not completely sure what blew, but it maybe the light sensitive resistor thing...<br><br>
I have had a prob with it for a while, the buttons were stuck, and the pedal seemed to be less sensitive.. so I opened it up and figured out that the buttons could be fixed quite easily.. but when I saw the pedal... WHAT NO POT??? <br>
Nope... its got the strangest construction.<br>The pedal has an LED on it, that moves closer to a Light dependant resister (or what ever they are called) and a VERY strange one at that...(not at all like the ones you stick in circuit bent things.. or I do...!!)<br>
<br>I fixed the pedal problem by bending the led mounting closer.. (looked like it had moved).. I then... like an idiot, I start to think (dont think... Mark DONT THINK... Never wise...) I think... if I can connect a regular pot onto the resister, maybe I can do without the pedal (never use it, all my effects sit on a table) AND.. maybe insert a jack and send the connection a small voltage from an CV sequencer (on my modular or somewhere)... after a bit of poking with a Multimeter, to try to figure out what resistance the light dependant resistor is (failed) I try shoving in a resistor... hmm.. not exacly BANG, but... fizzle... and now the resister doesnt resist.. the pedal doesnt work... and Im fcked... Now I HAVE to get my mod to work, or.. Ive lown something else... like a chip... <br>
<br>Here is a word for the wise:<br><br>Never try to circuit bend something that you actually WANT!!!!!<br><br>Im so sad... any electonics wizards on the list..? I would send it ANYWHERE to be fixed... <br><br>Yours, feeling a bit silly<br>
<br>Christmas...? Humbug...<br><br><br>Mark<br><br><br><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:34:23 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
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Subject: Hum from FCB1010
Date: Tue, 23 Dec 2008 18:34:20 -0000
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I'm getting a constant hum from the FCB1010. Sounds like a 60Hz cycle. 
Anyone had this problem and can offer any advice on how to fix it? It's 
nothing to do with it's vicinity as far as I can tell. I've tried it at 
several power points away from any other electrical components.

Thanks in advance,

Ricky 

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 18:38:43 2008
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Hey Rick!  That Dunlop QR35 or whatever it's called that I loaned you is
really flexible. There's a 5 position rotary knob on the right that
progessively jacks the Q factor and gives increasingly more radical sounds.
I tend to favor the less rad ones, and most frequently use the wah
statically or just slightly moving it for very subtle timbre variations. The
classic rythmic quacking thing is a pretty dated cliche, but when ya gotta
funk, there's no substitute. It's also a great smoothing device in front of
any fatter fuzz and refines the sloppiness inherent in the more unruly
fuzzes. Check it man . . .

I've rather liked a couple of the Snarling Dogs wahs, and had the Mold Spore
(or some such name) ring-mod/wah for awhile. Pretty interesting.

-m

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Hey Rick!&nbsp; That Dunlop QR35 or whatever it&#39;s called that I loaned
you is really flexible. There&#39;s a 5 position rotary knob on the right
that progessively jacks the Q factor and gives increasingly more
radical sounds. I tend to favor the less rad ones, and most frequently
use the wah statically or just slightly moving it for very subtle
timbre variations. The classic rythmic quacking thing is a pretty dated
cliche, but when ya gotta funk, there&#39;s no substitute. It&#39;s also a
great smoothing device in front of any fatter fuzz and refines the
sloppiness inherent in the more unruly fuzzes. Check it man . . .<br><br>
I&#39;ve rather liked a couple of the Snarling Dogs wahs, and had the Mold
Spore (or some such name) ring-mod/wah for awhile. Pretty interesting.<br>
<br><div><span class="gmail_quote"></span>-m<br>
</div>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 19:06:10 2008
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 sauce,secret goo (goo 	especially)
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SJAACK wrote:
"Also true, but only to a certain part to blame on the artist, simply 
because
you as an artist usually do lack detailed info on the properties of the 
room and the pa system. "

Actually Sjaack,   I don't completely agree with you about this one 
statement (and with me and you
that means a disagreement on about 1% of all things we have in common 
<smile>)

Because we can make entire loops and let them play,  we are some of the 
few artists in the world
who have the ability to let the loops run and then go out into the room 
or venue and listen to what
the PA sounds like.

Additionally,  we are mixing ourselves, live in realtime with whatever 
DSP processing we will be using
on the individual elements so this means that we can send the monitors 
EXACTLY what the final
mix will be and listen ourselves while onstage.   There may need to be 
some compensation because
monitors (or in ears) will have a different sound than the house PA with 
the room factored in, but this
is what Sound Engineers (if they are good) have to do on a continual basis.

Another thing is that we now live in the age of very inexpensive digital 
parametric EQs that have the ability
to set presets for every room we encounter.

This makes it possible to walk into a room,  do your soundcheck like 
normal,  then walk out into the room
and make adjustments for all the standing waves that amplify certain 
annoying frequencies and compensate
for all the timbral masking and phase cancellation that the room adds to 
the sound.

Then,  voila,  make a preset so that every time we come back to this 
acoustic space,  we can compensate
for the room's sound immediately.

It makes it tougher as this forces us to be professional sound engineers 
along with all the other hats that we
wear looping live in front of an audience.

If we are good,  we do have to become  instrumentalists, arrangers, 
composers, producers and sound engineers if we are going to
carry all of this off live.

This fact, however, actually makes me have the opinion that we are 
possibly able to
evolve at a potentially much faster rate than musicians who only play in 
band settings.

*********
all of this makes me want to start this separate thread and talk about 
our experiences with being
sound engineers for ourselves.

What gear helps us with this.   What problems can occur.  What are some 
of the physical principles
of acoustics and psycho acoustics that can help us to be better listeners.

I just proposed a Master class for the  2009 PASIC convention, called
TIME and TIMING:  cultivating deep listening utilizing live looping 
devices and laptop computers

I'm really into this concept of deep listening.        I think a lot of 
musicians mentally project what it is that they want to
sound like on live performance rather than actually listening to what is 
happening.
This happens really frequently in rhythmic looping but I think it's also 
very apropos for mixing ourselves as well.

I realize in my last live gig a couple of nights ago, that I was too 
frazzled by equipment failures and a consequently
too rushed sound check to really listen deeply to my sound.     I was 
able to listen pretty attentively to what I was actually
looping but I didn't really check in nearly enough with my sound.

Arrrrrggggghhh,  I also misplaced a specialty cable and couldn't hook up 
my subwoofer either.................that one hurt as
I was counting on it to give a couple of frisbees the sub frequencies 
necessary to really sound like a kick drum.

Okay,   I digress:

LOOPERS as SOUND ENGINEERS:    How do we cultivate deep listening and 
better sound by ourselves?


In the

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Subject: RE: question for those using presonus firefox and mobius
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> I am having problems with mobius recognizing the firebox drivers on my
> macbook (PC side i just installed parallels)everything seems cool i
> can play audio etc. but the drivers arent listed in mobius,any ideas?
> thanx Luis

If you're trying to run the Windows version of Mobius under Parallels,
I've never heard of that working.  I'm not familiar with Parallels but
most "virtualization" products have difficulty with audio devices.

If you're running Mac Mobius then any Core Audio device should
show up on the list.  I use a product to communicate with the audio
devices called PortAudio.  Bidule uses this too so if the device
shows up in Bidule, it should show up in Mobius.

Jeff

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> I'm getting a constant hum from the FCB1010.=20

Some (most?) FCBs hum.  Andy told me long ago this was due
to a transformer on the right side near the power cord. =20
I haven't cracked mine open but you might be able to reduce
this by putting something between the transformer and the case
to dampen the vibrations, but mine was never loud enough
to bother with that.

Jeff

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 19:21:29 2008
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From: "Travis Hartnett" <travishartnett@gmail.com>
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Subject: Re: I KILLED MY SPACE STATION!! Boo Hoo!!!! HEEEEELLLLLPPPPPP!!!!!!
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Did we ever figure out if it's possible to move the EPROM from a Space
Station into one of the other more plentiful pedals from that series (i.e.
the Whammy Wah)?
TH

On Tue, Dec 23, 2008 at 10:30 AM, mark francombe <mark@markfrancombe.com>wrote:

>
> Im so sad... any electonics wizards on the list..? I would send it ANYWHERE
> to be fixed...
>
>

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Did we ever figure out if it&#39;s possible to move the EPROM from a Space Station into one of the other more plentiful pedals from that series (i.e. the Whammy Wah)?<div><br></div><div>TH<br><br><div class="gmail_quote">On Tue, Dec 23, 2008 at 10:30 AM, mark francombe <span dir="ltr">&lt;<a href="mailto:mark@markfrancombe.com">mark@markfrancombe.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><br>Im so sad... any electonics wizards on the list..? I would send it ANYWHERE to be fixed... <br><br></blockquote></div>
</div>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 20:15:00 2008
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Subject: Re: Hum from FCB1010
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Yeah I had this, caused by the mains transformer being in contact with the 
metal casing. IIRC I did something cheesy like wedge a bit of cardboard in 
there to separate 'em. Hardly hi-tech, but it worked :)


----- Original Message ----- 
From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, December 23, 2008 6:34 PM
Subject: Hum from FCB1010


> I'm getting a constant hum from the FCB1010. Sounds like a 60Hz cycle. 
> Anyone had this problem and can offer any advice on how to fix it? It's 
> nothing to do with it's vicinity as far as I can tell. I've tried it at 
> several power points away from any other electrical components.
>
> Thanks in advance,
>
> Ricky
> 

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 20:40:01 2008
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   I still have a dx100=2Cwhat a cool synth=2Cwith the little keys I can re=
ach insanely wide chords=2Cand play really fast.


"I know the FB01. I never liked the 4-operator FM sound but I remember ther=
e was a bass patch in the DX-21 which sounded fantastic=2C=20
  might be that same patch :) It's a pity the DX-series is so difficult to =
program. I still use a DX-7 though=2C another classic"=

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<pre><font style=3D"" face=3D"arial=2Chelvetica">   I still have a dx100=2C=
what a cool synth=2Cwith the little keys I can reach insanely wide chords=
=2Cand play really fast.<br><br><br>"I know the FB01. I never liked the 4-o=
perator FM sound but I remember there was a bass patch in the DX-21 which s=
ounded fantastic=2C <br>  might be that same patch :) It's a pity the DX-se=
ries is so difficult to program. I still use a DX-7 though=2C another class=
ic"</font></pre></body>
</html>=

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Subject: Re: Hum from FCB1010
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Thanks guys. I'll give this a go this evening!

Peace

R

----- Original Message ----- 
From: "Jay Bell" <jay.bell@ntlworld.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, December 23, 2008 8:03 PM
Subject: Re: Hum from FCB1010


> Yeah I had this, caused by the mains transformer being in contact with the 
> metal casing. IIRC I did something cheesy like wedge a bit of cardboard in 
> there to separate 'em. Hardly hi-tech, but it worked :)
>
>
> ----- Original Message ----- 
> From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Tuesday, December 23, 2008 6:34 PM
> Subject: Hum from FCB1010
>
>
>> I'm getting a constant hum from the FCB1010. Sounds like a 60Hz cycle. 
>> Anyone had this problem and can offer any advice on how to fix it? It's 
>> nothing to do with it's vicinity as far as I can tell. I've tried it at 
>> several power points away from any other electrical components.
>>
>> Thanks in advance,
>>
>> Ricky
>>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.10.0/1861 - Release 
> Date: 22/12/2008 11:23
>
> 

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Date: Tue, 23 Dec 2008 12:41:57 -0800
From: "Travis Hartnett" <travishartnett@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: LOOPER AS SOUND ENGINEER was distortion,overdrive,fuzz,crunch,special sauce,secret goo (goo especially)
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Sound engineers have problems when they have little to no idea what the
music is "supposed" to sound like (as defined by say, the artist) and when
they have little to no clue as to where a particular sound is coming from.
A lot of looping folks produce non-standard sounds from their instrument, so
figuring out how to make something louder or quieter in the mix is often
more difficult that with a more conventional musical performance (for a
venue soundman).   Plus, figuring out what's in the loop and what's
not---it's a miracle the soundman can ever make sense of what's going on in
these situations.

And re: programmable digital EQ's with settings for a given "room": a room
is never the same acoustic space twice.  Heck, the difference between
soundcheck and the gig is usually pronounced due to people coming and going.

TH

On Tue, Dec 23, 2008 at 11:06 AM, Rick Walker <looppool@cruzio.com> wrote:
>
>
> Because we can make entire loops and let them play,  we are some of the few
> artists in the world
> who have the ability to let the loops run and then go out into the room or
> venue and listen to what
> the PA sounds like.
>
> Additionally,  we are mixing ourselves, live in realtime with whatever DSP
> processing we will be using
> on the individual elements so this means that we can send the monitors
> EXACTLY what the final
> mix will be and listen ourselves while onstage.   There may need to be some
> compensation because
> monitors (or in ears) will have a different sound than the house PA with
> the room factored in, but this
> is what Sound Engineers (if they are good) have to do on a continual basis.
>
> Another thing is that we now live in the age of very inexpensive digital
> parametric EQs that have the ability
> to set presets for every room we encounter.
>
> This makes it possible to walk into a room,  do your soundcheck like
> normal,  then walk out into the room
> and make adjustments for all the standing waves that amplify certain
> annoying frequencies and compensate
> for all the timbral masking and phase cancellation that the room adds to
> the sound.
>

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Sound engineers have problems when they have little to no idea what the music is &quot;supposed&quot; to sound like (as defined by say, the artist) and when they have little to no clue as to where a particular sound is coming from. &nbsp;<div>
<br></div><div>A lot of looping folks produce non-standard sounds from their instrument, so figuring out how to make something louder or quieter in the mix is often more difficult that with a more conventional musical performance (for a venue soundman). &nbsp; Plus, figuring out what&#39;s in the loop and what&#39;s not---it&#39;s a miracle the soundman can ever make sense of what&#39;s going on in these situations.</div>
<div><br></div><div>And re: programmable digital EQ&#39;s with settings for a given &quot;room&quot;: a room is never the same acoustic space twice. &nbsp;Heck, the difference between soundcheck and the gig is usually pronounced due to people coming and going.<br>
<div><br></div><div>TH<br><br><div class="gmail_quote">On Tue, Dec 23, 2008 at 11:06 AM, Rick Walker <span dir="ltr">&lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">

<br>
Because we can make entire loops and let them play, &nbsp;we are some of the few artists in the world<br>
who have the ability to let the loops run and then go out into the room or venue and listen to what<br>
the PA sounds like.<br>
<br>
Additionally, &nbsp;we are mixing ourselves, live in realtime with whatever DSP processing we will be using<br>
on the individual elements so this means that we can send the monitors EXACTLY what the final<br>
mix will be and listen ourselves while onstage. &nbsp; There may need to be some compensation because<br>
monitors (or in ears) will have a different sound than the house PA with the room factored in, but this<br>
is what Sound Engineers (if they are good) have to do on a continual basis.<br>
<br>
Another thing is that we now live in the age of very inexpensive digital parametric EQs that have the ability<br>
to set presets for every room we encounter.<br>
<br>
This makes it possible to walk into a room, &nbsp;do your soundcheck like normal, &nbsp;then walk out into the room<br>
and make adjustments for all the standing waves that amplify certain annoying frequencies and compensate<br>
for all the timbral masking and phase cancellation that the room adds to the sound.<br></blockquote></div><br></div></div>

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Message-ID: <588ce11d0812231256p43813366l4f88a98e8bca8e5a@mail.gmail.com>
Date: Tue, 23 Dec 2008 12:56:18 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: yamaha vintage synths
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I remember a friend had the DX-100, that was a cool synth! While the
keyboard didn't have touch sensitivity, I think the sound unit could
over midi.

 I think it's a myth that they are hard to program. I bought a dx-7
when I discovered that with a couple random adjustments on any patch,
I could get it to sound like a orchestra of cymbals played over
shortwave radio : )

This was breath of fresh air when nothing from Roland or Korg could be
made to sound like anything other than a cheesy pop synth no matter
what you did to it. You could really get some gnarly, hammered metal
sounds out of FM synths


On Tue, Dec 23, 2008 at 12:39 PM, samba - <sambacomet@hotmail.com> wrote:
>    I still have a dx100,what a cool synth,with the little keys I can reach
> insanely wide chords,and play really fast.
>
>
> "I know the FB01. I never liked the 4-operator FM sound but I remember there
> was a bass patch in the DX-21 which sounded fantastic,
>   might be that same patch :) It's a pity the DX-series is so difficult to
> program. I still use a DX-7 though, another classic"



-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 21:30:57 2008
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
 (goo especially)
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yeah,   i do

>That really is a lot of fuzz. Do you ever connect them all together in a row 
>and switch them all on at their most extreme settings? Please say that you 
>do. Please. You must have done it at least once.
>Steve
>www.stevemoyes.org.uk

>> BOSS
>>    Bass Overdrive ODB-3
>>    Hyper Fuzz FZ-2
>>    Super Distortion&Feedbacker
>> DOD
>>   Harmonic Enhancer
>>   MeatBox
>>   BuzzBox
>> Electro Harmonix
>>   4 BigMuffs
>>   1 Double Muff
>> ProCo
>>   2 LM308 Rats
>> Jacques FuseBlower
>> Orange Sunshine
>> MXR BlueBox
>> GuyaTone HD-2
>> TubeWorks BlueTube
>> Sanford&Sonny BlueBeard
>> Voodoo Labs SparkleDrive
>> Roger Mayer The Fuzz Face
>> Arbiter England FuzzFace
>
>

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 22:03:33 2008
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Years ago I had a Foxx vol/wah that was wired wrong; the volume sweep was correct (backed off= quiet, step on the gas= loud) but the wah part was backwards: an ahw-ahw pedal, I guess. But I mostly liked to use it in a fixed position as a weird sorta tone (or resonance) control. I loaned it to a student of mine about, oh, 1997-ish.

I used Crybabies for a long time, and now prefer a big honkin' Snarling Dogs Whine-O Wah (Jeff Beck's favorite), but really hardly ever do the Shaft/whacka-whacka thing.

A lot of folks who see my pedalboard wonder why I would have a Crybaby right next to the Whine-O, but the Crybaby is actually a MISTER Crybaby that I use as a volume pedal only.

-t-

http://www.myspace.com/nimbletunes
http://cdbaby.com/all/timnelson
http://www.youtube.com/speleman62


--- On Tue, 12/23/08, Rick Walker <looppool@cruzio.com> wrote:

> 
> What wahs are out there and what do you all like?


      

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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: yamaha vintage synths
Date: Tue, 23 Dec 2008 13:45:26 -0800
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My old Yammy CS60 still works great and still kicks ass!

(But a real bitch to MOVE! Weighs near a 100lbs or so!)

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/


On Dec 23, 2008, at 12:56 PM, Art Simon wrote:

> I remember a friend had the DX-100, that was a cool synth! While the
> keyboard didn't have touch sensitivity, I think the sound unit could
> over midi.
>
>  I think it's a myth that they are hard to program. I bought a dx-7
> when I discovered that with a couple random adjustments on any patch,
> I could get it to sound like a orchestra of cymbals played over
> shortwave radio : )
>
> This was breath of fresh air when nothing from Roland or Korg could be
> made to sound like anything other than a cheesy pop synth no matter
> what you did to it. You could really get some gnarly, hammered metal
> sounds out of FM synths
>
>
> On Tue, Dec 23, 2008 at 12:39 PM, samba - <sambacomet@hotmail.com>  
> wrote:
>>    I still have a dx100,what a cool synth,with the little keys I  
>> can reach
>> insanely wide chords,and play really fast.
>>
>>
>> "I know the FB01. I never liked the 4-operator FM sound but I  
>> remember there
>> was a bass patch in the DX-21 which sounded fantastic,
>>   might be that same patch :) It's a pity the DX-series is so  
>> difficult to
>> program. I still use a DX-7 though, another classic"
>
>
>
> -- 
> Art Simon
> simart@null.net
> myspace [dot] com/artsimon
>

Rev Fever
http://www.spiritone.com/~rvfever/


--Apple-Mail-11-505939722
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
My old Yammy CS60 still works great and still kicks =
ass!<div><br></div><div>(But a real bitch to MOVE! Weighs near a 100lbs =
or so!)<br><div><br></div><div>All the best,</div><div>Rev =
Fever</div><div><div><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div><div><br></div></div><div><br><div><div>On Dec 23, 2008, =
at 12:56 PM, Art Simon wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">I remember a friend had the DX-100, that was a cool =
synth! While the</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">keyboard didn't have touch =
sensitivity, I think the sound unit could</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">over =
midi.</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; "><span class=3D"Apple-converted-space">=A0</span>I =
think it's a myth that they are hard to program. I bought a =
dx-7</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">when I discovered that with a =
couple random adjustments on any patch,</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">I could =
get it to sound like a orchestra of cymbals played over</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">shortwave radio : )</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; ">This was =
breath of fresh air when nothing from Roland or Korg could be</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">made to sound like anything other than a cheesy pop =
synth no matter</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">what you did to it. You could =
really get some gnarly, hammered metal</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">sounds =
out of FM synths</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; min-height: 14px; "><br></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">On Tue, =
Dec 23, 2008 at 12:39 PM, samba - &lt;<a =
href=3D"mailto:sambacomet@hotmail.com">sambacomet@hotmail.com</a>> =
wrote:</div> <blockquote type=3D"cite"><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span =
class=3D"Apple-converted-space">=A0=A0 </span>I still have a dx100,what =
a cool synth,with the little keys I can reach</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">insanely wide chords,and play really fast.</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; =
min-height: 14px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">"I know the =
FB01. I never liked the 4-operator FM sound but I remember =
there</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">was a bass patch in the DX-21 =
which sounded fantastic,</div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><span =
class=3D"Apple-converted-space">=A0 </span>might be that same patch :) =
It's a pity the DX-series is so difficult to</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">program. I still use a DX-7 though, another =
classic"</div> </blockquote><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; min-height: 14px; "><br></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; ">--<span =
class=3D"Apple-converted-space">=A0</span></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Art =
Simon</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; "><a =
href=3D"mailto:simart@null.net">simart@null.net</a></div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">myspace [dot] com/artsimon</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; min-height: 14px; "><br></div> =
</blockquote></div><br><div> <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>Rev Fever</div><div><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div></span> </div><br></div></div></body></html>=

--Apple-Mail-11-505939722--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 22:30:47 2008
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From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: WAH WAHS
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Rick,

my wah suggestion will most probably not be any help...for most of the
time, I've been using a Nord MicroModular for those typical "wah"
purposes, along with the FilterFactory (when I still had it) - both of
them also a lot with filter modulated by an LFO or step sequencer. Of
course, with the Nord you can build any odd wah mutant or bastard -
like distort wah which only distorts a specific frequency band (and
the frequency band is sweepable). Then again, I would assume a Line6
FM4 might work very well for the purpose of having a non-typical wah
with a huge range - why don't you go to the next house and try the M13
I suspect is still there?

Regarding the envelope follower thing: I think disliking "rapdi
shiftings of timbre" does not necessarily lead to a disdain for
envelope followers, but that depends on how you use the word - I've
always used it as a term for "a parameter is controlled by the
envelope of some audio signal", but I understand (did the google test)
that it's often used for "the resonant/cutoff frequency of a filter is
controlled by the envelope...".

Using the envelope to modulate parameters other than filter cutoff can
be great fun - I almost assume you at some time had a Vortex (which
has a lot of tricky envelope implementations, including a ducking
delay). A few days ago I described how to use the input envelope to
control the output volume, to give you a more dynamic sound when
playing through huge distortion which takes all dynamic information
away. If you apply it to a subtle detuner you get the effect like with
brass and woodwind instruments where very loud playing can affect the
pitch. Or use a slow envelope follower to morph between two radically
different effects altogether...

        Rainer


http://moinlabs.de
http://www.myspace.com/moinlabs
http://video.google.de/videosearch?q=moinlabs
http://www.jamendo.com/en/artist/straschill/

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From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: FF settings (was: distortion, overdrive,fuzz,crunch,special sauce, secret goo)
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Michael asked:
> rainer.....would you care to share some F.F. setting that you find interesting?.....or is that too secret?.....:)m

As a matter of fact, it's so secret and gooey that I was forced to
surgically remove the part of my brain holding the information, or
else simply forget it (I parted with the FilterFactory some four or
five years ago).

One thing I found important was that the distortion (I think it was
called "buzz") worked great on denser material, like mighty synths
(think Wavestation), drum machines and grooveboxes. Another thing I
remember was that in the manual it said than when using the notch
filter mode, you should turn resonance all the way down "for best
results", so I had to do the opposite - which might be the only thing
in that post which could qualify as a special sambal or masala.

          -r

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I will be out of the office starting  12/23/2008 and will not return until
12/24/2008.

For telecom issues, Genesys, Video or Audio Conferencing contact Karim
Medel at 323 932 3922.

***** PLEASE NOTE ***** This E-Mail/telefax message and any
documents accompanying this transmission may contain privileged
and/or confidential information and is intended solely for the
addressee(s) named above. If you are not the intended
addressee/recipient, you are hereby notified that any use of,
disclosure, copying, distribution, or reliance on the contents of
this E-Mail/telefax information is strictly prohibited and may
result in legal action against you. Please reply to the sender
advising of the error in transmission and immediately
delete/destroy the message and any accompanying documents. Thank
you.*****  

From Loopers-Delight-request@loopers-delight.com  Tue Dec 23 23:52:01 2008
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Subject: Re: Hum from FCB1010
Date: Tue, 23 Dec 2008 23:51:58 -0000
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Thanks, Jay. Worked!

Ricky

----- Original Message ----- 
From: "Jay Bell" <jay.bell@ntlworld.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, December 23, 2008 8:03 PM
Subject: Re: Hum from FCB1010


> Yeah I had this, caused by the mains transformer being in contact with the 
> metal casing. IIRC I did something cheesy like wedge a bit of cardboard in 
> there to separate 'em. Hardly hi-tech, but it worked :)
>
>
> ----- Original Message ----- 
> From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Tuesday, December 23, 2008 6:34 PM
> Subject: Hum from FCB1010
>
>
>> I'm getting a constant hum from the FCB1010. Sounds like a 60Hz cycle. 
>> Anyone had this problem and can offer any advice on how to fix it? It's 
>> nothing to do with it's vicinity as far as I can tell. I've tried it at 
>> several power points away from any other electrical components.
>>
>> Thanks in advance,
>>
>> Ricky
>>
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.10.0/1861 - Release 
> Date: 22/12/2008 11:23
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 00:25:51 2008
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As a hand-operated manual wah effect, i really love the Alesis Philtre box.
Got mine for a steal a while back when they were discontinued. (That's
another rant subject - why does the most useful equipment always get
discontinued?)

I've been looking for a foot-operated pedal which has the bypass switch
separate from the actual rocking mechanism, instead of under the "toe" of
the pedal. For example, I don't want one where I'd accidentally turn off
when I'm trying to do the Cream "White Room" guitar solo.

Matt

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As a hand-operated manual wah effect, i really love the Alesis Philtre box. Got mine for a steal a while back when they were discontinued. (That&#39;s another rant subject - why does the most useful equipment always get discontinued?)<br>
<br>I&#39;ve been looking for a foot-operated pedal which has the bypass switch separate from the actual rocking mechanism, instead of under the &quot;toe&quot; of the pedal. For example, I don&#39;t want one where I&#39;d accidentally turn off when I&#39;m trying to do the Cream &quot;White Room&quot; guitar solo. <br>
<br>Matt<br><br>

------=_Part_109699_8011957.1230077926915--

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From: RICHARD SALES <richard@glasswing.com>
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well it's a case where I think the Twin Tube was doing all the heavy  
lifting.  As I complained about in an earlier message, it makes not  
only all guitars sound like Metallica, but keyboards too!  But yeah,  
it was a bass patch that sounded pretty dinky by itself but when put  
thru the Twin Tube it was a scorching hot Jan Hammer type solo  
instrument.

My DX7, which I loved, croaked a few years back and I figured I'd just  
have to live without it.  Now I have Velvet (RTAS) which has some  
pretty cool old Wurlitzer and Rhodes sounds when I need that.

And hey!  Merry Crispness to all  (I should spell that Krispness in  
honor of Sir Hartung)

Richard

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com
On Dec 23, 2008, at 12:39 PM, samba - wrote:

>    I still have a dx100,what a cool synth,with the little keys I can  
> reach insanely wide chords,and play really fast.
>
>
> "I know the FB01. I never liked the 4-operator FM sound but I  
> remember there was a bass patch in the DX-21 which sounded fantastic,
>   might be that same patch :) It's a pity the DX-series is so  
> difficult to program. I still use a DX-7 though, another classic"








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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">well it's a case where I think =
the Twin Tube was doing all the heavy lifting. &nbsp;As I complained =
about in an earlier message, it makes not only all guitars sound like =
Metallica, but keyboards too! &nbsp;But yeah, it was a bass patch that =
sounded pretty dinky by itself but when put thru the Twin Tube it was a =
scorching hot Jan Hammer type solo instrument. =
&nbsp;&nbsp;<div><br></div><div>My DX7, which I loved, croaked a few =
years back and I figured I'd just have to live without it. &nbsp;Now I =
have Velvet (RTAS) which has some pretty cool old Wurlitzer and Rhodes =
sounds when I need that.</div><div><br></div><div>And hey! &nbsp;Merry =
Crispness to all &nbsp;(I should spell that Krispness in honor of Sir =
Hartung)</div><div><br></div><div>Richard</div><div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">RICHARD =
SALES</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div></=
span><div><div>On Dec 23, 2008, at 12:39 PM, samba - 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: 18px; 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"hmmessage" =
style=3D"font-size: 10pt; font-family: Verdana; "><pre><font =
face=3D"arial,helvetica">   I still have a dx100,what a cool synth,with =
the little keys I can reach insanely wide chords,and play really =
fast.<br><br><br>"I know the FB01. I never liked the 4-operator FM sound =
but I remember there was a bass patch in the DX-21 which sounded =
fantastic, <br>  might be that same patch :) It's a pity the DX-series =
is so difficult to program. I still use a DX-7 though, another =
classic"</font></pre></div></span></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; 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; =
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-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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial"><br></font></div><div><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

--Apple-Mail-3-516152220--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 01:09:27 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <KCC1UC$DDFD4595D758BAADF0B6647D242DBBC8@scarlet.be>
Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
Date: Wed, 24 Dec 2008 01:09:21 -0000
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From: "Sjaak" <tcplugin@scarlet.be>
> Yes, I know the FB01. I never liked the 4-operator FM sound but I remember 
> there was a bass patch in the DX-21 which sounded fantastic, might be that 
> same patch :) It's a pity the DX-series is so difficult to program. I 
> still use a DX-7 though, another classic.

The FB01 was the synth used onboard Yamaha's first sound card, aka the IBM 
Music Feature Card.  Got it as a dealer kit as I was working in the sw biz 
at the time, followed by my beloved Juno-106.  Yeah, no touch sensitivity 
there, but those two units were what I started doing my work on in '87... 
One of these days I'm going to get the sequenced ESQ files I did converted. 
I think there are more than a few songs to be re-had in that way...!

The FM sounds were less than impressive on their own, but when put through 
processing one could make it just fine.

Ah, memories.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 01:10:42 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <495031AF.5080708@cruzio.com> <22853.72.22.1230039074.squirrel@www.andredonawa.com>
Subject: Re: BOID ALGORITHMS and the CONTRAINT OF RANDOMNESS
Date: Wed, 24 Dec 2008 01:10:37 -0000
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Those are starlings.



> Hey Rick,
>
> That was poetry in motion.
>
> Thanks for sharing,
>
> Andre
>
> http://www.andredonawa.com
> http://cdbaby.com/all/andredonawa
> http://www.myspace.com/andredonawa
>
> On Mon, December 22, 2008 8:32 pm, Rick Walker wrote:
>> We've talked about Boid Algorithms here before.
>> They are the plottings of the contraint of randomness found in
>> flocking birds.
>>
>> Here is an amazing video of flocking birds that I just saw:
>>
>> Wow, talk about morphing patterning in nature.
>>
>> http://video.yahoo.com/network/100000086?v=2963992&l=100000085
>>
>>
>
>
>
>
>
>
>
>
>
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.10.0/1862 - Release Date: 12/23/2008 
12:08 PM

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 01:15:01 2008
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Date: Wed, 24 Dec 2008 02:14:59 +0100
From: "mark francombe" <mark@markfrancombe.com>
Sender: markfrancombe@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Hum from FCB1010
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------=_Part_108825_29258943.1230081299971
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HA!! I'd lile to say thanks too, altho I havent done anything with mine yet
(two electronics accidents in one day would be too much) but I went into the
studio after reading LD, and listened to my FCB1010... Sure enough, it hums
like a MF. INFACT cos it lives right next to my Doepfer Synth, I always
thought the hum was coming from THAT!!! ha ha!! Now I know... Every one
should get down on their knees and listen... once in a while..

m

On Wed, Dec 24, 2008 at 12:51 AM, Ricky Graham <
rock.guitar.guru@btinternet.com> wrote:

> Thanks, Jay. Worked!
>
> Ricky
>
> ----- Original Message ----- From: "Jay Bell" <jay.bell@ntlworld.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Tuesday, December 23, 2008 8:03 PM
> Subject: Re: Hum from FCB1010
>
>
>  Yeah I had this, caused by the mains transformer being in contact with the
>> metal casing. IIRC I did something cheesy like wedge a bit of cardboard in
>> there to separate 'em. Hardly hi-tech, but it worked :)
>>
>>
>> ----- Original Message ----- From: "Ricky Graham" <
>> rock.guitar.guru@btinternet.com>
>> To: <Loopers-Delight@loopers-delight.com>
>> Sent: Tuesday, December 23, 2008 6:34 PM
>> Subject: Hum from FCB1010
>>
>>
>>  I'm getting a constant hum from the FCB1010. Sounds like a 60Hz cycle.
>>> Anyone had this problem and can offer any advice on how to fix it? It's
>>> nothing to do with it's vicinity as far as I can tell. I've tried it at
>>> several power points away from any other electrical components.
>>>
>>> Thanks in advance,
>>>
>>> Ricky
>>>
>>>
>>
>>
>> --
>> No virus found in this incoming message.
>> Checked by AVG. Version: 7.5.552 / Virus Database: 270.10.0/1861 - Release
>> Date: 22/12/2008 11:23
>>
>>
>>
>


-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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HA!! I&#39;d lile to say thanks too, altho I havent done anything with mine yet (two electronics accidents in one day would be too much) but I went into the studio after reading LD, and listened to my FCB1010... Sure enough, it hums like a MF. INFACT cos it lives right next to my Doepfer Synth, I always thought the hum was coming from THAT!!! ha ha!! Now I know... Every one should get down on their knees and listen... once in a while..<br>
<br>m<br><br><div class="gmail_quote">On Wed, Dec 24, 2008 at 12:51 AM, Ricky Graham <span dir="ltr">&lt;<a href="mailto:rock.guitar.guru@btinternet.com">rock.guitar.guru@btinternet.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Thanks, Jay. Worked!<br>
<br>
Ricky<br>
<br>
----- Original Message ----- From: &quot;Jay Bell&quot; &lt;<a href="mailto:jay.bell@ntlworld.com" target="_blank">jay.bell@ntlworld.com</a>&gt;<br>
To: &lt;<a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a>&gt;<br>
Sent: Tuesday, December 23, 2008 8:03 PM<br>
Subject: Re: Hum from FCB1010<br>
<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Yeah I had this, caused by the mains transformer being in contact with the metal casing. IIRC I did something cheesy like wedge a bit of cardboard in there to separate &#39;em. Hardly hi-tech, but it worked :)<br>
<br>
<br>
----- Original Message ----- From: &quot;Ricky Graham&quot; &lt;<a href="mailto:rock.guitar.guru@btinternet.com" target="_blank">rock.guitar.guru@btinternet.com</a>&gt;<br>
To: &lt;<a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a>&gt;<br>
Sent: Tuesday, December 23, 2008 6:34 PM<br>
Subject: Hum from FCB1010<br>
<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I&#39;m getting a constant hum from the FCB1010. Sounds like a 60Hz cycle. Anyone had this problem and can offer any advice on how to fix it? It&#39;s nothing to do with it&#39;s vicinity as far as I can tell. I&#39;ve tried it at several power points away from any other electrical components.<br>

<br>
Thanks in advance,<br>
<br>
Ricky<br>
<br>
</blockquote>
<br>
<br>
<br>
-- <br>
No virus found in this incoming message.<br>
Checked by AVG. Version: 7.5.552 / Virus Database: 270.10.0/1861 - Release Date: 22/12/2008 11:23<br>
<br>
<br>
</blockquote>
<br>
</blockquote></div><br><br clear="all"><br>-- <br><a href="http://www.markfrancombe.com">www.markfrancombe.com</a><br><a href="http://vimeo.com/user825094">http://vimeo.com/user825094</a><br><a href="http://uk.youtube.com/user/markfrancombe">http://uk.youtube.com/user/markfrancombe</a><br>
<a href="http://www.myspace.com/markfrancombe">http://www.myspace.com/markfrancombe</a><br><a href="http://www.looop.no">www.looop.no</a><br>

------=_Part_108825_29258943.1230081299971--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 01:23:33 2008
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From: J Johans <parispro00@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: Mainstage + Mobius + External Mixer - latency / monitoring questions
Date: Tue, 23 Dec 2008 19:18:31 -0600
Importance: Normal
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I dunno if anyone is using a similar setup-  but theoretically=2C can anyon=
e forsee any blatent latency / monitoring issues with the following..?Exter=
nal keyboard -----> in mainstage (tones) --------> mainstage out to CH 1 & =
2 external mixer -------> Mixer Aux out into Mobious --------> mobius out i=
nto CH 3 & 4 external mixerMobius would be set to mute input signal.I would=
 use CH 1 & 2 of the mixer to hear what im playing=2C and CH 3 & 4 to hear =
what is loopedsince the signal is traveling through my audio interface 4 di=
fferent times...and being processed by the CPU 4 times....should i expect t=
o have an unacceptable latency?i would think there is a way to route mainst=
age to mobius internally to reduce latency=2C but im not sure if this will =
work in my setup.. im still new to laptop looping and rely heavily on my ex=
ternal mixer to handle the routing of my 6 stereo inputs (4 stereo instrume=
nts and 2 stereo loopers)there are times when im playing piano and singing=
=2C but only want the vocals to be recorded into mobius - currently=2C i hi=
t a dipswitch on my mixer that controls whether or not an intrument gets se=
nt into mobius - is there a way to do this via MIDI and software routing if=
 i have mainstage internally patched to mobius?and could i merge the intern=
al patch with an external mix from my looper?meaning if mainstage is sent d=
irectly into mobius=2C could i also merge the signal with a L/R from my mix=
er? or is that a audio interface thing? currently waiting on a fireface800a=
ny thoughts or examples would be greatly appreciatedfro
_________________________________________________________________
Life on your PC is safer=2C easier=2C and more enjoyable with Windows Vista=
=AE.=20
http://clk.atdmt.com/MRT/go/127032870/direct/01/=

--_0ab1273f-00fe-4e5f-a43c-926b55ec2979_
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<body class=3D'hmmessage'>
I dunno if anyone is using a similar setup- =A0but theoretically=2C can any=
one forsee any blatent latency / monitoring issues with the following..?<di=
v><br></div><div>External keyboard -----> in mainstage (tones) --------> ma=
instage out to CH 1 &amp=3B 2 external mixer -------> Mixer Aux out into Mo=
bious --------> mobius out into CH 3 &amp=3B 4 external mixer</div><div><br=
></div><div>Mobius would be set to mute input signal.</div><div>I would use=
 CH 1 &amp=3B 2 of the mixer to hear what im playing=2C and CH 3 &amp=3B 4 =
to hear what is looped</div><div><br></div><div>since the signal is traveli=
ng through my audio interface 4 different times...and being processed by th=
e CPU 4 times....should i expect to have an unacceptable latency?</div><div=
><br></div><div>i would think there is a way to route mainstage to mobius i=
nternally to reduce latency=2C but im not sure if this will work in my setu=
p..=A0</div><div>im still new to laptop looping and rely heavily on my exte=
rnal mixer to handle the routing of my 6 stereo inputs (4 stereo instrument=
s and 2 stereo loopers)</div><div><br></div><div>there are times when im pl=
aying piano and singing=2C but only want the vocals to be recorded into mob=
ius - currently=2C i hit a dipswitch on my mixer that controls whether or n=
ot an intrument gets sent into mobius - is there a way to do this via MIDI =
and software routing if i have mainstage internally patched to mobius?</div=
><div><br></div><div>and could i merge the internal patch with an external =
mix from my looper?</div><div>meaning if mainstage is sent directly into mo=
bius=2C could i also merge the signal with a L/R from my mixer? or is that =
a audio interface thing? currently waiting on a fireface800</div><div><br><=
/div><div>any thoughts or examples would be greatly appreciated</div><div><=
br></div><div>fro</div><div><br></div><div><br></div><br /><hr />Life on yo=
ur PC is safer=2C easier=2C and more enjoyable with Windows Vista=AE.  <a h=
ref=3D'http://clk.atdmt.com/MRT/go/127032870/direct/01/' target=3D'_new'>Se=
e how </a></body>
</html>=

--_0ab1273f-00fe-4e5f-a43c-926b55ec2979_--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 06:34:55 2008
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Travis Hartnett wrote:
"And re: programmable digital EQ's with settings for a given "room": a 
room is never the same acoustic space twice. 
Heck, the difference between soundcheck and the gig is usually 
pronounced due to people coming and going."


Of course this is true,  Travis,  but there are certainly approximations 
of sound absorption that comes from a partially full or full house
(I believe their is a 40% absorption factor, approximately with a room 
full of people and there is a tendency for more
hi mid to hi frequencies being absorbed with more people in the room 
with an attendant roll off of bass frequencies that is less pronounce due
to the large size they are).

Having done professional live sound engineering many times in my life in 
a plethora of different room sizes (from large auditorium to dank clubs to
outdoor venues) and different stylistic kinds of music,  I have a strong 
sense of how a space sounds at soundcheck and how to compensate when the 
room fills up
and getting a feel for this just takes a bit of time with anyone who is 
talented with good ears.

It will never be perfect, as you  point out,  but I've heard live 
loopers have superlative sound coming from the stage. 
Indeed,  the Y2K festival frequently has good sound (not always, because 
we've blown a couple of experiments) and
the sound board has been in between the two stages without a specific 
monitoring engineer.

So,  I actually think that the use of customized presets  (three for 
each room you play in:    soundcheck empty,  lightly attended and packed 
house
with increasing compensation for diminished mid-his and diminished 
subsonic multiplication----people breaking up standing bass standing waves
actually can be efficacious in a mix.

Even from the stage, whilst using a subwoofer, it's pretty easy to hear 
how much subsonic multiplication  is occurring....................a walk 
to the front
of the speakers (both right in front,  to each side and to the very back 
of the room)  will at least yield what the actual room's acoustic 
properties
(is it a bright reflective room,   a boomy room,   a prounounced slap 
back (predelay), etc.)

I've found that keeping things perflectly flat, response wise,  is 
always a great policy until one gets the hang of sound of any room:   
empty or full
it's not terribly difficult to compensate for a full house.  Usually one 
just raised the over all volume and compensates minimally for
certain frequencies that may have been attenuated with the presence of a 
lot of bodies.

I still think, consequently,  that there is a place for pre-set 
customizeable EQs.    I know Berhinger makes a couple of really 
inexpensive ones.


From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 09:30:46 2008
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From: "Sjaak" <tcplugin@scarlet.be>
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> Rick Walker wrote: 
> SJAACK wrote:
> "Also true, but only to a certain part to blame on the artist, simply 
> because
> you as an artist usually do lack detailed info on the 
> properties of the 
> room and the pa system. "
> 
> Actually Sjaack,   I don't completely agree with you about this one 
> statement (and with me and you
> that means a disagreement on about 1% of all things we have in common 
> <smile>)

Lol Actually, it was Rainer's quote but I follow him here ;) Its good peo=
ple have different opinions; otherwise we would all have the same opinion=
s and we would all sound the same; that would be a boring world. Btw: I h=
aven't been clear enough in my previous email because I was mainly referr=
ing to a non-looping situation. 

I certainly see your point that a looper has the ability to walk into the=
 room to check the sound by using some test loops but a good FOH sound de=
pends on many things: the number of instruments and artists you have to m=
ix, the type of instruments, few or many mics, technical capabilities and=
 discipline of the artists etc 

I must admit I have not seen many live looping gigs yet so I can=92t real=
ly judge about the average sound of loopers. But if I speak for myself, t=
here are a lot of things you can do to avoid problems. Some are =93open d=
oors=94 but often so true. I try to keep my setup as simple as possible a=
nd I always test it before I leave my home. You get in the danger zone if=
 you change your setup too frequently or 5 minutes before the gig.

> Another thing is that we now live in the age of very 
> inexpensive digital 
> parametric EQs that have the ability
> to set presets for every room we encounter.

How many times do you see FOH racks with 5-10 19=94 devices such as compr=
essors, feedback destroyers, EQ=92s, limiters, crossovers etc? I bet most=
 of the time and especially in low-budget situations because you start wi=
th device A, add B, then add C. But today=92s technology can help you to =
keep your setup or PA simple. Examples are devices such as the DBX Driver=
ack series, you get all the PA tools you need to keep you out of trouble.=
 To be honest, I was very skeptic when a sound engineer told me about the=
 Driverack and the built-in real time analyzer but I was quickly convince=
d after I had seen how quickly and simple this device works and what it d=
oes with your sound. And it has user presets to store settings of differe=
nt venues. Cost: 400-500 and imo that=92s a bargain.

> Additionally, we are mixing ourselves, live in realtime with 
> whatever DSP processing we will be using on the individual elements
> so this means that we can send the monitors EXACTLY what the final
> mix will be and listen ourselves while onstage.

I usually split my live mix in two, 1 for the FOH and 1 for my stage moni=
tors. The sound engineer might add some EQ to my signal but that=92s abou=
t it. 
 
> If we are good, we do have to become instrumentalists, arrangers, 
> composers, producers and sound engineers if we are going to 
> carry all of this off live.
> This fact, however, actually makes me have the opinion that we are 
> possibly able to
> evolve at a potentially much faster rate than musicians who 
> only play in 
> band settings.

That=92s true and that=92s why live looping is so difficult and sometimes=
 stressful ;) You sometimes have to think about 1000-things, so that=92s =
another reason why I want to keep my setup as simple as possible.
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
Meer info op www.scarlet.be

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 09:38:01 2008
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Date: Wed, 24 Dec 2008 10:38:00 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: WAH WAHS
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How wonderful with a dedicated wha-wha thread! :-)) I just want to
post in that I love wha-wha as an instrument,! Not "as effect" though.
For guitar players there are really cool ways to go poly rhythmic with
a wha pedal by tapping a different filtering beat than the beat you
are playing with your hands. Please don't dismiss the wha by simply
judging it by some tasteless four-on-the-floor pedal tap filtering you
may have heard! A wha pedal can also be used as a constant filter to
dig out a certain frequency band to boost regarding what you are
playing related to the ensemble situation. In any band groove there is
always one frequency that is best to deliver the riff you are playing
on the guitar;  depending on what drums are played, how they are tuned
and what notes the bass plays. So rather than tapping the pedal
rhythmically the guitarist can use the pedal to "mix" hos own
instrument into the summed band sound. Listening to Jimi Hendrix is
good for an example of both these wha-wha concepts.

Regarding Rick Walker's "rapidly changing timbre" I guess that
expression is targeting those typical "Funk Bass Synth" sounds that
some Moog payers used in the eighties. I fully agree that these sounds
suck (because they are not played but generated by an envelope
following the input level or attack). The problem with these sounds is
that they do not provide a solid body of sound attack as the filter
sweep goes too far through the frequency register - which is different
to most analog wha-wha pedals.

Related: I personally learned something very important once from a
female vocalist I was playing guitar with. We had also a drummer and
an electric bass player in the band, but my guitar playing was to
support the main harmonic foundation for here to phrase the vocals.
She was very specific in what guitars I should use and we discussed it
and experimented a lot to found out why certain electric guitars
worked and others did not work as a harmonic foundation for vocal
phrasing (on top there-of). What I found was that the guitars that was
"good for singing" had a firm low mid frequency tone. They were
consistent in the frequencies that you typically hear when covering
your ears by your hands. So that frequency band was what she heard the
best through the internal sound of her own voice while singing. After
shifting around bodies, necks and pickups I found that it was one
particular stratocaster body that delivered the best frequency
response for her vocal shaping. This body was best no matter what neck
or pickups it used. I would never have guessed that, so I'm grateful
we took the time to do all that experimenting.

And speaking from a decade of sound design added on top of that
particular guitar/vocal ensemble experience I would say that these
lower mid frequencies are important to create a punchy feel in any
sound. If the response isn't firm down there you won't get more
fatness by rolling off high end treble. So Rick's "rapidly changing
timbre" is a good way of destroying that "punchy feel". Another
effective way to destroy punchy fatness is to enhance bass frequencies
too much; such a treated signal may sound "fat" when monitored outside
a musical context but as soon as you try to play music with it you
will find that the sound is "too slow" to be felt punchy. Gotta stop
here because this ramble is getting into the area where you start
talking about how "groove" and "swing" doesn't have to do with timing
only but also with timbre and that's a another long story....

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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I love wah-wah, but I use it mainly to add expression to individual notes,
to help make up for the fact that the guitar is not bowed. Jimi was ever my
inspiration for this (also, I guess, Steve Stills' playing on Season of the
Witch on that Supersession album from 1969 or so) , always hated funk
auto-wah. Unfortunately, being as digital as I am is not good for wah-ing: I
have never heard (and I gave up trying about 10 years ago, so this is a very
outdated opinion) a digital wah-wah with any balls, and even if I found one,
controlling it with a zipper-inducing MIDI cc pedal does not stand much of a
chance of working, unless the wah-wah plug-in is very good at interpolating
between zipper teeth (I know this is possible. whether anyone does it or not
is another story).

I used a crybaby for many years. Sold it a while ago, but I still love the
use of pedals to make individual notes more expressive - controlling ring
mod depth, or using it like a mod wheel to push in some lfo modulation.

In contradiction to what I said above (that didn't take long) I *do* use one
digital wah effect, or at least did recently - I used a very extreme
wah-like effect ("Traveller") in my old Korg AX-1000g on
http://warrensirota.com/Brian/Tuffer.mp3. One thing that was interesting
(challenging) about the effect is that is was too extreme to use the full
range of motion on your foot, resulting in a
just-barely-on-the-edge-of-control aspect to the playing. And there's no
zippering, because I was controlling via the integrated pedal, not via MIDI.


-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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I love wah-wah, but I use it mainly to add expression to individual notes, to help make up for the fact that the guitar is not bowed. Jimi was ever my inspiration for this (also, I guess, Steve Stills&#39; playing on Season of the Witch on that Supersession album from 1969 or so) , always hated funk auto-wah. Unfortunately, being as digital as I am is not good for wah-ing: I have never heard (and I gave up trying about 10 years ago, so this is a very outdated opinion) a digital wah-wah with any balls, and even if I found one, controlling it with a zipper-inducing MIDI cc pedal does not stand much of a chance of working, unless the wah-wah plug-in is very good at interpolating between zipper teeth (I know this is possible. whether anyone does it or not is another story).<br>
<br>I used a crybaby for many years. Sold it a while ago, but I still love the use of pedals to make individual notes more expressive - controlling ring mod depth, or using it like a mod wheel to push in some lfo modulation.<br>
<br>In contradiction to what I said above (that didn&#39;t take long) I *do* use one digital wah effect, or at least did recently - I used a very extreme wah-like effect (&quot;Traveller&quot;) in my old Korg AX-1000g on <a href="http://warrensirota.com/Brian/Tuffer.mp3">http://warrensirota.com/Brian/Tuffer.mp3</a>. One thing that was interesting (challenging) about the effect is that is was too extreme to use the full range of motion on your foot, resulting in a just-barely-on-the-edge-of-control aspect to the playing. And there&#39;s no zippering, because I was controlling via the integrated pedal, not via MIDI.<br>
<br><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>

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On NYE, listen here: <http://electro-music.com/radio>

Announcement at <http://electro-music.com/forum/viewtopic.php?t=22830> says:

We did it in 2006 and 2008 (I think we missed 2007) so why not do it 
again? Lets have an online electro-music.com international New Year's 
Eve party and electro-jam. Almost all cultures celebrate the January 1st 
New Year so this is sure not to offend too many people.

A floating concert is like a floating crap game, it moves around from 
location to location.

We will set up our shoutcast server to run all day Dec 31 through Jan 1. 
We'd like people in their studios to set up live streaming of 
performances, jam sessions, or any kind of musical expression for 
streaming. The electro-music.com members and lurkers can tune in and 
share the experience. Hopefully, we will get people volunteering from 
all over the world to sign up for a time slot. Pick a time convenient 
for you - it doesn't have to be Midnight in your time zone, but that 
would be cool.

For those who haven't done live streaming, it is a lot easier than you 
might imagine. To do the streaming, all you need is a PC with Oddcast 
(now called Edcast), a free program. If you have a Mac, you can use the 
Nicecast program.  The free demo works for a month the last time we 
tried it.

If you are are interested in participating, we'll set up a test server 
just for you to experiment on to make sure you can get it to work.

Once you get your own server assignment, you can test stream all you 
want. When your time come up on New Years Eve, I will switch the 
radio.electro-music.com server to reflect your server. You have nothing 
to do.

If you are interested, please let us know sending me a PM (Private 
Message) by clicking on the PM button at the bottom of this message.*** 
We'll pass out times on a first come basis. I'll stream from my house at 
midnight Eastern US time. We'll have some electro-friends over to jam. 
Why don't you do the same? Don't worry about being polished and super 
professional, this is for fun. Hopefully, we can give some of our DIY 
synth builders a chance to have their music heard direct from their studios.

It's party time... party time!
All you need to know to start streaming is in the following links:

Edcast (Oddcast) instructions posted: 
http://electro-music.com/forum/viewtopic.php?t=13780

Mac OSX users are encouraged to use NiceCast which we have tested.

In 2006 we were able to stream noodles when there was nobody streaming live.
Hopefully we will be able to do this again,.

During the event the streaming will be hosted here: 
http://radio.electro-music.com.

Howard Moscovitz
============
*** The PM link is on the electro-music page that announces this even.  
You must be a member of electro-music in order to send a PM to Howard.  
I'm sure that if you know is email address, he'll be happy to include 
you.  Hurry up because the time slots are filling fast!

Cheers,

Bill

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From: "Doc Rossi" <docittern@gmail.com>
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Subject: GNX4 Polarity
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The power supply on by GNX4 has given up the ghost.  Does anyone know
what the output polarity has to be? I can't find it anywhere.

Thanks,

Doc

myspace.com/docrossi

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 15:46:07 2008
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Date: Wed, 24 Dec 2008 16:46:05 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: WAH WAHS
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Matt wrote:
> As a hand-operated manual wah effect, i really love the Alesis Philtre box.

In that hand-operated realm, I also enjoy the Kaoss Pad 1 (KP1, first
series) with its distortion filter effect. And speaking of Alesis: how
does the AirFX do as a wah? Anyone has experiences?

> I've been looking for a foot-operated pedal which has the bypass switch separate from the actual rocking mechanism, instead of under the "toe" of the pedal.

The aforementioned FilterFactory with MIDI controller would do (or,
you could sweep the filter frequency with the pedal and use
pushbuttons on the device to switch on/off). Another nice thing about
it are the momentary switches, where you can "sus-style" kick the wah
in (or out) momentarily.

> I don't want one where I'd accidentally turn off when I'm trying to do the Cream "White Room" guitar solo.

I'm curious: are you playing that on a drum machine? If so, are there
any audio recordings (or better still, videos)?

           Rainer

ps: the usual. A merry fucking christmas to all of you!

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 15:48:16 2008
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Okay, I'll confess. I still have - and occasionally record with - an  
old TX-81Z. I actually got pretty good at programming it despite the  
limitations of the four-operator system. But sometimes, late at  
night, after working with it a long time, I could swear every sound  
it makes sounds like a distorted koto.

Richard Roberts
ZERO OHMS

"We are no longer the same after hearing certain sounds, and this is  
more the case when we hear organized sounds, sounds organized by  
another human being: music."
- Karlheinz Stockhausen

"If I should ever die, God forbid, let this be my epitaph: THE ONLY  
PROOF HE NEEDED FOR THE EXISTENCE OF GOD WAS MUSIC."
- Kurt Vonnegut, Jr.





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<HTML><BODY style=3D"word-wrap: break-word; -khtml-nbsp-mode: space; =
-khtml-line-break: after-white-space; ">Okay, I'll confess. I still have =
- and occasionally record with - an old TX-81Z. I actually got pretty =
good at programming it despite the limitations of the four-operator =
system. But sometimes, late at night, after working with it a long time, =
I could swear every sound it makes sounds like a distorted =
koto.<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; "><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>Richard =
Roberts</DIV><DIV>ZERO OHMS</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" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 10px;"><I style=3D"font-size: 10px; font-style: =
italic; "><SPAN class=3D"Apple-style-span" style=3D"font-size: 10px; =
font-style: italic; ">"We are no longer the same after hearing certain =
sounds, and this is more the case when we hear organized sounds, sounds =
organized by another human being: =
music."=A0=A0</SPAN></I></SPAN></FONT></DIV><DIV style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT =
class=3D"Apple-style-span" size=3D"2"><SPAN class=3D"Apple-style-span" =
style=3D"font-size: 10px;"><I style=3D"font-size: 10px; font-style: =
italic; "><SPAN class=3D"Apple-style-span" style=3D"font-size: 10px; =
font-style: italic; ">- Karlheinz =
Stockhausen</SPAN></I></SPAN></FONT></DIV><DIV style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><FONT =
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style=3D"font-size: 10px;"><I style=3D"font-size: 10px; font-style: =
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class=3D"Apple-style-span" style=3D"font-size: 10px;"><I =
style=3D"font-size: 10px; font-style: italic; "><SPAN =
class=3D"Apple-style-span" style=3D"font-size: 10px; font-style: italic; =
">"If I should ever die, God forbid, let this be my epitaph:=A0THE ONLY =
PROOF HE NEEDED=A0FOR THE EXISTENCE OF GOD=A0WAS =
MUSIC."</SPAN></I></SPAN></FONT></P><P style=3D"margin-top: 0px; =
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class=3D"khtml-block-placeholder"></DIV><BR =
class=3D"Apple-interchange-newline"></SPAN></SPAN> =
</DIV><BR></DIV></BODY></HTML>=

--Apple-Mail-1-569753511--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 16:38:26 2008
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I have been using a line 6 power supply for a few years on a GNX 2.  
Hope this helps. 

Koney
www.koneyferrell.com

------Original Message------
From: Doc Rossi
Sender: 
To: Loopers-Delight@loopers-delight.com
ReplyTo: Loopers-Delight@loopers-delight.com
Sent: Dec 24, 2008 9:41 AM
Subject: GNX4 Polarity

The power supply on by GNX4 has given up the ghost.  Does anyone know
what the output polarity has to be? I can't find it anywhere.

Thanks,

Doc

myspace.com/docrossi



Sent via BlackBerry from T-Mobile

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 17:25:35 2008
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> And speaking of Alesis: how
> does the AirFX do as a wah? Anyone has experiences?

Well, there are a couple of useful patches that do manual filter sweeps that work.  Doesn't really sound much like a wah-wah pedal though.  Once you've found the sweet spot, though, it is possible to 'lock' that filter position, if you want to do that.

The AirFx is always a crowd pleaser at a 'not used to looping audience' gig.  Someone will ALWAYS come up to me afterwards to find out why I was waving my hands around like that.

>            Rainer
> 
> ps: the usual. A merry fucking christmas to all of you!

ditto,

Stephen


      

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Message-ID: <002601c965f3$71bed580$0302a8c0@YOUR08D5303051>
From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <7334ca1b0812231430h2cd324e3v1329eb10835cb42a@mail.gmail.com> <c70e517b0812231618r3ed89bave70b2d1ce2cd0456@mail.gmail.com>
Subject: Re: WAH WAHS
Date: Wed, 24 Dec 2008 13:14:20 -0500
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Matt, I used to have a Morley Wah Volume, it had a button next to the =
pedal for going between wah and volume uses. They were also optical =
instead of pot operated. I loved it but it died and I never was able to =
get it fixed (years ago). I don't know what they offer now.

All the best for the Holidays!

Jeff
  ----- Original Message -----=20
  From: Matt Davignon=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Tuesday, December 23, 2008 7:18 PM
  Subject: Re: WAH WAHS


  As a hand-operated manual wah effect, i really love the Alesis Philtre =
box. Got mine for a steal a while back when they were discontinued. =
(That's another rant subject - why does the most useful equipment always =
get discontinued?)

  I've been looking for a foot-operated pedal which has the bypass =
switch separate from the actual rocking mechanism, instead of under the =
"toe" of the pedal. For example, I don't want one where I'd accidentally =
turn off when I'm trying to do the Cream "White Room" guitar solo.=20

  Matt




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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
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12/22/2008 11:23 AM

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<DIV><FONT face=3DArial size=3D2>Matt, I used to have a Morley Wah =
Volume,=20
it&nbsp;had a button next to the pedal for going between wah and volume =
uses.=20
They were also optical instead of pot operated. I loved it but it died =
and I=20
never was able to get it fixed (years ago). I don't know what they offer =

now.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>All the best for the =
Holidays!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3Dmattdavignon@gmail.com =
href=3D"mailto:mattdavignon@gmail.com">Matt=20
  Davignon</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, December 23, =
2008 7:18=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: WAH WAHS</DIV>
  <DIV><BR></DIV>As a hand-operated manual wah effect, i really love the =
Alesis=20
  Philtre box. Got mine for a steal a while back when they were =
discontinued.=20
  (That's another rant subject - why does the most useful equipment =
always get=20
  discontinued?)<BR><BR>I've been looking for a foot-operated pedal =
which has=20
  the bypass switch separate from the actual rocking mechanism, instead =
of under=20
  the "toe" of the pedal. For example, I don't want one where I'd =
accidentally=20
  turn off when I'm trying to do the Cream "White Room" guitar solo.=20
  <BR><BR>Matt<BR><BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
270.10.0/1861 -=20
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Message-ID: <003801c965f4$bf1a5790$0302a8c0@YOUR08D5303051>
From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Live looping improv/lofi experimental video thingy just in time for Christmas!
Date: Wed, 24 Dec 2008 13:22:35 -0500
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Now up at Vimeo, hope ya like it. Merry Christmas!

Manifold
http://www.vimeo.com/2622319


Jeff

http://www.thisphase.org/jeffdukedotorg.html

Ad astra per alia porci - Steinbeck
(To the stars on the wings of a pig.)
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<DIV><FONT face=3DArial size=3D2>Now up at Vimeo, hope ya like it. Merry =

Christmas!</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Manifold</FONT></DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.vimeo.com/2622319">http://www.vimeo.com/2622319</A></F=
ONT></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>Jeff</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://www.thisphase.org/jeffdukedotorg.html">http://www.thisphas=
e.org/jeffdukedotorg.html</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Ad astra per alia porci - =
Steinbeck<BR>(To the=20
stars on the wings of a pig.)</FONT></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 18:26:57 2008
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From: J Johans <parispro00@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: RE: [zonemobius] Mainstage + Mobius + External mixer
 latency/monitoring issues?
Date: Wed, 24 Dec 2008 12:26:54 -0600
Importance: Normal
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thanks for the response per=2C ill try to get more detailed-
=20
i have recently abandoned my hardware loopers and picked up mobius-
now im wondering if i can ditch my sound processors and pick up mainstage /=
 bidule  =3DoD
=20
first of all=2C how are the sounds inside mainstage?? i cant find any sampl=
es of what you get with logic - would be sweet if you could actually hear s=
ome of the tones before you buy- do most of you use the presets/plugins tha=
t come with logic or do you get your own 3rd party plug-ins/instruments?
=20
i currently use 1 roland fantom XR  sound module for my keyboard tones-
i use another roland fantom XR sound module for my drum tones-
and i use a POD x3 for my guitar/vocal sounds-
is mainstage powerful enough to replace all of this??
=20
i think this would be two software instruments and two plugins all processi=
ng at once? the keyboard would be the only one with lots and lots of patch =
changes=2C the others stay fairly placid-
im worried about latency / stability in mainstage...anyone have any opinion=
s?
=20
can you load mainstage into bidule like i can load mobius into bidule? this=
 is what i meant by "internal patching" between mainstage and mobius -  if =
not=2C is the routing in mainstage smart enough to handle multiple input/ou=
tputs from my audio interface? mic inoput=2C guitar input=2C midi input CH5=
=2C midi in CH 6 and then 8 outputs to mixer
=20
i want this to work=2C but cant afford to spend $2000 on a mac and $400 on =
logic studio to find out the tones suck and latency / stability is unaccept=
able =3D)
so i rely on you guys and cannot thankyou enought for any info you have to =
offer
=20
thanks
fro
=20
=20



To: zonemobius@yahoogroups.comFrom: perboysen@gmail.comDate: Wed=2C 24 Dec =
2008 09:50:50 +0100Subject: Re: [zonemobius] Mainstage + Mobius + External =
mixer latency/monitoring issues?



On Wed=2C Dec 24=2C 2008 at 5:19 AM=2C J Johans <parispro00@hotmail.com> wr=
ote:> srry if this is a double post for anyone> I dunno if anyone is using =
a similar setup- but theoretically=2C can anyone> forsee any blatent latenc=
y / monitoring issues with the following..?> External keyboard -----> in ma=
instage (for sounds) --------> mainstage out> to CH 1 & 2 external mixer --=
-----> Mixer Aux out into Mobious -------->> mobius out into CH 3 & 4 exter=
nal mixer> Mobius would be set to mute input signal.> I would use CH 1 & 2 =
of the mixer to hear what im playing=2C and CH 3 & 4 to> hear what is loope=
d> since the signal is traveling through my audio interface 4 different> ti=
mes...and being processed by the CPU 4 times....should i expect to have an>=
 unacceptable latency?Not sure what you mean by "latency". If you mean your=
 direct inputsignal being delayed I'm afraid there is no way of minimizing =
it bydifferent routing=2C except for routing the direct signal directly tot=
he PA. Effects do delay a signal.If you mean the audio that are being loope=
d it should be easy to fixthat "latency" by tweaking Mobius settings for la=
tency compensation.This comensation meanst that you tell Mobius how much an=
 audio signalis being delayed by the AD conversion and effect processing so=
 Mobiuscan move each new overdubbed layer a bit earlier in the loop - inord=
er to make it musically line up with earlier audio layers so itwill play ba=
ck as you did play it live.(BTW=2C I use the same routing as you=2C but wit=
h two mono cables insteadof the mixer)> i would think there is a way to rou=
te mainstage to mobius internally to> reduce latency=2C but im not sure if =
this will work in my setup..Hmm.... "Internally"...? I guess you mean using=
 the Mobius VST plug-inthen on a Bus in Mobius? If this assumption is corre=
ct you have onlyone way to route audio to the plug-in=2C by the bus send kn=
ob on thechannel script. There is another way though=3B you can open Moibus=
 VSTon the main output of Mobius and enable "Input Monitoring" in Mobius.Gr=
eetings from SwedenPer Boysenwww.boysen.se (Swedish)www.looproom.com (inter=
national)www.ubetoo.com/Artist.taf?_ArtistId=3D6550__._=2C_.___=20
Messages in this topic (16) Reply (via web post) | Start a new topic=20
Messages | Files | Photos | Links | Members=20

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>From kitchen basics to easy recipes - join the Group from Kraft Foods=20
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thanks for the response per=2C ill try to get more detailed-<BR>
&nbsp=3B<BR>
i have recently abandoned my hardware loopers and picked up mobius-<BR>
now im wondering if i can ditch my sound processors and pick up mainstage /=
 bidule&nbsp=3B =3DoD<BR>
&nbsp=3B<BR>
first of all=2C how are the sounds inside mainstage?? i cant find any sampl=
es of what you get with logic - would be sweet if you could actually hear s=
ome of the tones before you buy- do most of you&nbsp=3Buse the presets/plug=
ins that come with logic&nbsp=3Bor do you&nbsp=3Bget your own 3rd party plu=
g-ins/instruments?<BR>
&nbsp=3B<BR>
i currently use 1 roland fantom XR&nbsp=3B sound module for my keyboard ton=
es-<BR>
i use another roland fantom XR sound module for my drum tones-<BR>
and i use a POD x3 for my guitar/vocal sounds-<BR>
is mainstage powerful enough to replace all of this??<BR>
&nbsp=3B<BR>
i think this would be two software instruments and two plugins all processi=
ng at once?&nbsp=3Bthe keyboard would be the only one with lots and lots of=
 patch changes=2C the others stay fairly placid-<BR>
im worried about latency / stability&nbsp=3Bin&nbsp=3Bmainstage...anyone ha=
ve any opinions?<BR>
&nbsp=3B<BR>
can you load mainstage into bidule like i can load mobius into bidule? this=
 is what i meant by "internal patching" between mainstage and mobius - &nbs=
p=3Bif not=2C is the routing in mainstage smart enough to handle multiple i=
nput/outputs from my audio interface? mic inoput=2C guitar input=2C midi in=
put CH5=2C midi in CH 6 and then 8 outputs to mixer<BR>
&nbsp=3B<BR>
i want this to work=2C but cant afford to spend $2000 on a mac and $400 on =
logic studio to find out the tones suck and latency / stability is unaccept=
able =3D)<BR>
so i rely on you guys and cannot thankyou enought for any info you have to =
offer<BR>
&nbsp=3B<BR>
thanks<BR>
fro<BR>
&nbsp=3B<BR>
&nbsp=3B<BR>

<HR id=3DstopSpelling>
<BR>
To: zonemobius@yahoogroups.com<BR>From: perboysen@gmail.com<BR>Date: Wed=2C=
 24 Dec 2008 09:50:50 +0100<BR>Subject: Re: [zonemobius] Mainstage + Mobius=
 + External mixer latency/monitoring issues?<BR><BR><BR>
<DIV id=3DEC_ygrp-mlmsg style=3D"WIDTH: 655px">
<DIV id=3DEC_ygrp-msg style=3D"PADDING-RIGHT: 25px=3B PADDING-LEFT: 0px=3B =
Z-INDEX: 1=3B FLOAT: left=3B PADDING-BOTTOM: 0px=3B WIDTH: 470px=3B PADDING=
-TOP: 0px">
<DIV id=3DEC_ygrp-text>
On Wed=2C Dec 24=2C 2008 at 5:19 AM=2C J Johans &lt=3B<A href=3D"mailto:par=
ispro00@hotmail.com">parispro00@hotmail.<WBR>com</A>&gt=3B wrote:<BR>&gt=3B=
 srry if this is a double post for anyone<BR>&gt=3B I dunno if anyone is us=
ing a similar setup- but theoretically=2C can anyone<BR>&gt=3B forsee any b=
latent latency / monitoring issues with the following..?<BR>&gt=3B External=
 keyboard -----&gt=3B in mainstage (for sounds) --------&gt=3B mainstage ou=
t<BR>&gt=3B to CH 1 &amp=3B 2 external mixer -------&gt=3B Mixer Aux out in=
to Mobious --------&gt=3B<BR>&gt=3B mobius out into CH 3 &amp=3B 4 external=
 mixer<BR>&gt=3B Mobius would be set to mute input signal.<BR>&gt=3B I woul=
d use CH 1 &amp=3B 2 of the mixer to hear what im playing=2C and CH 3 &amp=
=3B 4 to<BR>&gt=3B hear what is looped<BR>&gt=3B since the signal is travel=
ing through my audio interface 4 different<BR>&gt=3B times...and being proc=
essed by the CPU 4 times....should i expect to have an<BR>&gt=3B unacceptab=
le latency?<BR><BR>Not sure what you mean by "latency". If you mean your di=
rect input<BR>signal being delayed I'm afraid there is no way of minimizing=
 it by<BR>different routing=2C except for routing the direct signal directl=
y to<BR>the PA. Effects do delay a signal.<BR><BR>If you mean the audio tha=
t are being looped it should be easy to fix<BR>that "latency" by tweaking M=
obius settings for latency compensation.<BR>This comensation meanst that yo=
u tell Mobius how much an audio signal<BR>is being delayed by the AD conver=
sion and effect processing so Mobius<BR>can move each new overdubbed layer =
a bit earlier in the loop - in<BR>order to make it musically line up with e=
arlier audio layers so it<BR>will play back as you did play it live.<BR><BR=
>(BTW=2C I use the same routing as you=2C but with two mono cables instead<=
BR>of the mixer)<BR><BR>&gt=3B i would think there is a way to route mainst=
age to mobius internally to<BR>&gt=3B reduce latency=2C but im not sure if =
this will work in my setup..<BR><BR>Hmm.... "Internally"<WBR>...? I guess y=
ou mean using the Mobius VST plug-in<BR>then on a Bus in Mobius? If this as=
sumption is correct you have only<BR>one way to route audio to the plug-in=
=2C by the bus send knob on the<BR>channel script. There is another way tho=
ugh=3B you can open Moibus VST<BR>on the main output of Mobius and enable "=
Input Monitoring" in Mobius.<BR><BR>Greetings from Sweden<BR><BR>Per Boysen=
<BR>www.boysen.se (Swedish)<BR>www.looproom.<WBR>com (international)<BR>www=
.ubetoo.com/<WBR>Artist.taf?<WBR>_ArtistId=3D<WBR>6550<BR><BR></DIV><SPAN s=
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 19:10:29 2008
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Date: Thu, 25 Dec 2008 03:00:00 +0800
From: Randolf Arriola <randolf@embryosongs.com>
Subject: Re: Loopers-Delight-d Digest V08 #1033
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Wishing one and all here and everywhere the best of love life, family and 
the music oh sweet music! Merry X'mas and a Happier New Year everyone!

Regards from sunny Singapore!

Randolf Arriola (aka the embryo)

http://www.soundclick.com/bands/5/theembryo.htm
http://www.myspace.com/the_embryo

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From: J Johans <parispro00@hotmail.com>
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Subject: matte vs glossy screen?
Date: Wed, 24 Dec 2008 13:22:56 -0600
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also i was wondering if anyone is having trouble using the new glossy mac s=
creen for live shows?=20
is there too much glare?
=20
thanks
fro
_________________________________________________________________
Life on your PC is safer=2C easier=2C and more enjoyable with Windows Vista=
=AE.=20
http://clk.atdmt.com/MRT/go/127032870/direct/01/=

--_094e73fc-15bd-4fe9-880a-5908024e65dc_
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<html>
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font-size: 10pt=3B
font-family:Verdana
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</head>
<body class=3D'hmmessage'>
also i was wondering if anyone is having trouble using the new glossy mac s=
creen for live&nbsp=3Bshows? <BR>
is there too much glare?<BR>
&nbsp=3B<BR>
thanks<BR>
fro<BR><br /><hr />Life on your PC is safer=2C easier=2C and more enjoyable=
 with Windows Vista=AE.  <a href=3D'http://clk.atdmt.com/MRT/go/127032870/d=
irect/01/' target=3D'_new'>See how </a></body>
</html>=

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 19:35:17 2008
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References: <20081224182657.974603BE80@arsenic.violacea.com>
 <D50780B27E04493FABCBB0474EB42202@embryo>
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Subject: Re: matte vs glossy screen?
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>Life on your PC is safer, easier, and more enjoyable with Windows Vista

I never knew!


t
  ----- Original Message -----=20
  From: J Johans=20
  To: loopers-delight@loopers-delight.com=20
  Sent: Wednesday, December 24, 2008 11:22 AM
  Subject: matte vs glossy screen?


  also i was wondering if anyone is having trouble using the new glossy =
mac screen for live shows?=20
  is there too much glare?
  =20
  thanks
  fro


-------------------------------------------------------------------------=
-----
  Life on your PC is safer, easier, and more enjoyable with Windows =
Vista=AE. See how =

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<DIV>&gt;Life on your PC is safer, easier, and more enjoyable with =
Windows=20
Vista</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial>I never knew!</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>t</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=3Dparispro00@hotmail.com =
href=3D"mailto:parispro00@hotmail.com">J=20
  Johans</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, December 24, =
2008 11:22=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> matte vs glossy =
screen?</DIV>
  <DIV><BR></DIV>also i was wondering if anyone is having trouble using =
the new=20
  glossy mac screen for live&nbsp;shows? <BR>is there too much=20
  glare?<BR>&nbsp;<BR>thanks<BR>fro<BR><BR>
  <HR>
  Life on your PC is safer, easier, and more enjoyable with Windows =
Vista=AE. <A=20
  href=3D"http://clk.atdmt.com/MRT/go/127032870/direct/01/" =
target=3D_new>See how=20
  </A></BLOCKQUOTE></BODY></HTML>

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Date: Wed, 24 Dec 2008 21:28:54 +0100
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To: Loopers-Delight@loopers-delight.com
Subject: Re: [zonemobius] Mainstage + Mobius + External mixer latency/monitoring issues?
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Hi,

The sound of MainStage is pretty much what you hear on many modern
records or soundtracks. Some sounds are displayed in these videos:
http://www.apple.com/logicstudio/action/. Sorry, I don't know about
the Roland fantom XR, but you can always sample it. I would be
surprised though if equivalent sound patches isn't available withing
the Logic/MainStage sound library.

If I understand your post correctly you are planning to play two
keyboards at the same time while also treating two audio/mic input
channels with plug-ins. I can not say if this is within the safe CPU
limit, since I never do many patches at the same time - I swap between
patches by foot pedals and play the patches one after the other (only
open, sounding, patches tax the CPU, not the muted ones in your patch
library). I too play four instruments and use three physical inputs on
the audio interface (one mic, one instrument level, one line level),
but not simultaneously. If I want to use the same effect patch
(reberb, delay, compressor, phaser etc) on two different instruments
that need to be patched into two different physical audio interface
inputs, then I set up two sound patches with the same sound but
fetching the signal from two different physical inputs. Then I swap
patch by a pedal as I pick up the other instrument. That's my way of
minimizing CPU usage. But as said, I can not guarantee that a laptop
can safely handle four simultaneuous channels plus a looper. CPU usage
also depends on how many notes you play on the keyboard. Best would be
for you to find some user that does exactly what you intend to and
interview him/her.

As for "latency", see my previous post for more information. I run
MainStage here with a 128 sample buffer and I guess that means some
ten or twelve seconds latency when playing a software/virtual
instrument. I play a lot of software instruments by an EWI and do not
think that latency is a problem. They all feel more snappy than for
example playing a guitar through a POD Classic (the POD pre amp is
about as much latency I can handle without feeling bad).

You can not load MainStage into Bidule, like you do with Mobius VST,
because MainStage is a host application, just as Bidule also is. But
you can load Mobius into MainStage (like you can also load Mobius into
Bidule). Then Bidule can also be used as an AU plug-in that can be
loaded into MainStage, but that's another story.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Wed, Dec 24, 2008 at 7:26 PM, J Johans <parispro00@hotmail.com> wrote:
> thanks for the response per, ill try to get more detailed-
>
> i have recently abandoned my hardware loopers and picked up mobius-
> now im wondering if i can ditch my sound processors and pick up mainstage /
> bidule  =oD
>
> first of all, how are the sounds inside mainstage?? i cant find any samples
> of what you get with logic - would be sweet if you could actually hear some
> of the tones before you buy- do most of you use the presets/plugins that
> come with logic or do you get your own 3rd party plug-ins/instruments?
>
> i currently use 1 roland fantom XR  sound module for my keyboard tones-
> i use another roland fantom XR sound module for my drum tones-
> and i use a POD x3 for my guitar/vocal sounds-
> is mainstage powerful enough to replace all of this??
>
> i think this would be two software instruments and two plugins all
> processing at once? the keyboard would be the only one with lots and lots of
> patch changes, the others stay fairly placid-
> im worried about latency / stability in mainstage...anyone have any
> opinions?
>
> can you load mainstage into bidule like i can load mobius into bidule? this
> is what i meant by "internal patching" between mainstage and mobius -  if
> not, is the routing in mainstage smart enough to handle multiple
> input/outputs from my audio interface? mic inoput, guitar input, midi input
> CH5, midi in CH 6 and then 8 outputs to mixer
>
> i want this to work, but cant afford to spend $2000 on a mac and $400 on
> logic studio to find out the tones suck and latency / stability is
> unacceptable =)
> so i rely on you guys and cannot thankyou enought for any info you have to
> offer
>
> thanks
> fro
>
>
> ________________________________
> To: zonemobius@yahoogroups.com
> From: perboysen@gmail.com
> Date: Wed, 24 Dec 2008 09:50:50 +0100
> Subject: Re: [zonemobius] Mainstage + Mobius + External mixer
> latency/monitoring issues?
>
>
> On Wed, Dec 24, 2008 at 5:19 AM, J Johans <parispro00@hotmail.com> wrote:
>> srry if this is a double post for anyone
>> I dunno if anyone is using a similar setup- but theoretically, can anyone
>> forsee any blatent latency / monitoring issues with the following..?
>> External keyboard -----> in mainstage (for sounds) --------> mainstage out
>> to CH 1 & 2 external mixer -------> Mixer Aux out into Mobious -------->
>> mobius out into CH 3 & 4 external mixer
>> Mobius would be set to mute input signal.
>> I would use CH 1 & 2 of the mixer to hear what im playing, and CH 3 & 4 to
>> hear what is looped
>> since the signal is traveling through my audio interface 4 different
>> times...and being processed by the CPU 4 times....should i expect to have
>> an
>> unacceptable latency?
>
> Not sure what you mean by "latency". If you mean your direct input
> signal being delayed I'm afraid there is no way of minimizing it by
> different routing, except for routing the direct signal directly to
> the PA. Effects do delay a signal.
>
> If you mean the audio that are being looped it should be easy to fix
> that "latency" by tweaking Mobius settings for latency compensation.
> This comensation meanst that you tell Mobius how much an audio signal
> is being delayed by the AD conversion and effect processing so Mobius
> can move each new overdubbed layer a bit earlier in the loop - in
> order to make it musically line up with earlier audio layers so it
> will play back as you did play it live.
>
> (BTW, I use the same routing as you, but with two mono cables instead
> of the mixer)
>
>> i would think there is a way to route mainstage to mobius internally to
>> reduce latency, but im not sure if this will work in my setup..
>
> Hmm.... "Internally"...? I guess you mean using the Mobius VST plug-in
> then on a Bus in Mobius? If this assumption is correct you have only
> one way to route audio to the plug-in, by the bus send knob on the
> channel script. There is another way though; you can open Moibus VST
> on the main output of Mobius and enable "Input Monitoring" in Mobius.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
> __._,_.___
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 20:37:59 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: Loopers-Delight-d Digest V08 #1033
Date: Wed, 24 Dec 2008 12:37:53 -0800
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Same to you!

I am pretty sure it's already Xmas day where you are.

 =46rom rainy (and snowy) Oregon.

Best regards,

tEd =AE KiLLiAn

On Dec 24, 2008, at 11:00 AM, Randolf Arriola wrote:

> Wishing one and all here and everywhere the best of love life, family=20=

> and the music oh sweet music! Merry X'mas and a Happier New Year=20
> everyone!
>
> Regards from sunny Singapore!
>
> Randolf Arriola (aka the embryo)
>
> http://www.soundclick.com/bands/5/theembryo.htm
> http://www.myspace.com/the_embryo
>
> ----- Original Message ----- From:=20
> <Loopers-Delight-d-request@loopers-delight.com>
> To: <Loopers-Delight-d@loopers-delight.com>
> Sent: Thursday, December 25, 2008 2:26 AM
> Subject: Loopers-Delight-d Digest V08 #1033
>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 20:43:16 2008
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Date: Wed, 24 Dec 2008 21:43:15 +0100
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Merry Xmas everybody!!!

Here in Sweden we have all the fun stuff on the 24th. My brother gave
me the ECM "rarum" album of Pat Matheney's "best chosen performances".
Nice and nostalgic listening :-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Wed, Dec 24, 2008 at 9:37 PM, tEd (R) KiLLiAn <tedkillian@charter.net> wrote:
> Same to you!
>
> I am pretty sure it's already Xmas day where you are.
>
> From rainy (and snowy) Oregon.
>
> Best regards,
>
> tEd (R) KiLLiAn
>
> On Dec 24, 2008, at 11:00 AM, Randolf Arriola wrote:
>
>> Wishing one and all here and everywhere the best of love life, family and
>> the music oh sweet music! Merry X'mas and a Happier New Year everyone!
>>
>> Regards from sunny Singapore!
>>
>> Randolf Arriola (aka the embryo)
>>
>> http://www.soundclick.com/bands/5/theembryo.htm
>> http://www.myspace.com/the_embryo
>>
>> ----- Original Message ----- From:
>> <Loopers-Delight-d-request@loopers-delight.com>
>> To: <Loopers-Delight-d@loopers-delight.com>
>> Sent: Thursday, December 25, 2008 2:26 AM
>> Subject: Loopers-Delight-d Digest V08 #1033
>>
>>
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 20:51:02 2008
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As a bass player, I have to say a word in favor of envelope filters.
Used well, they are extremely funky and expressive - and they respond to nuances in your playing and attack, which allows the effect itself to be played.
Far from static, IMO.
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>As a bass player, I have to say a word in favor of envelope filters.</DIV>
<DIV>Used well, they are extremely funky and expressive - and they respond to nuances in your playing and attack, which allows the effect itself to be played.</DIV>
<DIV>Far from static, IMO.</DIV></td></tr></table>
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 22:53:20 2008
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Date: Wed, 24 Dec 2008 17:53:19 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
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Had a chance to listen to the first few tunes today - i liked the
interaction of the looping trumpets in the 2nd track, and the overall sense
of wackiness and play in the whole endeavor. Nice work, I'll be listening to
the rest.

Warren

>For the first time ever, there's a *Straschill-CD available for online
order!* <http://kunaki.com/Sales.asp?PID=PX00ZC35CT>* *And independently,
the online listeners
<http://www.jamendo.com/en/album/36542?refuid=145131> won't
be disappointed.

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Had a chance to listen to the first few tunes today - i liked the interaction of the looping trumpets in the 2nd track, and the overall sense of wackiness and play in the whole endeavor. Nice work, I&#39;ll be listening to the rest.<br>
<br>Warren<br><br><span><font face="Arial" size="2">&gt;For the first time 
ever, there&#39;s a <a title="http://kunaki.com/Sales.asp?PID=PX00ZC35CT" href="http://kunaki.com/Sales.asp?PID=PX00ZC35CT" target="_blank"><strong title="http://kunaki.com/Sales.asp?PID=PX00ZC35CT">Straschill-CD available for 
online order!</strong></a><strong> </strong>And independently, the <a title="http://www.jamendo.com/en/album/36542?refuid=145131" href="http://www.jamendo.com/en/album/36542?refuid=145131" target="_blank">online 
listeners</a>&nbsp;won&#39;t be disappointed.</font></span><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 24 22:53:22 2008
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Date: Wed, 24 Dec 2008 14:53:21 -0800
From: Nick <ParadoxQuine@gmail.com>
Sender: collective.reality@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: matte vs glossy screen?
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	 <D50780B27E04493FABCBB0474EB42202@embryo>
	 <COL118-W2FAF412FBF042E0E44C9CDBED0@phx.gbl>
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>>Life on your PC is safer, easier, and more enjoyable with Windows Vista
>
> I never knew!

That's because it's not true :P

> also i was wondering if anyone is having trouble using the new glossy mac screen for live shows?
> is there too much glare?

>From my experience, unless you have light shining directly on the
screen, glare isn't a problem with new glossy screens. I'd rather have
matte still, but since that is fast becoming extinct, glossy isn't
really problematically glare-y, just slightly irritating at times.

On Wed, Dec 24, 2008 at 11:35 AM, Toby G <carpet8@mac.com> wrote:
>>Life on your PC is safer, easier, and more enjoyable with Windows Vista
>
> I never knew!
>
>
> t
>
> ----- Original Message -----
> From: J Johans
> To: loopers-delight@loopers-delight.com
> Sent: Wednesday, December 24, 2008 11:22 AM
> Subject: matte vs glossy screen?
> also i was wondering if anyone is having trouble using the new glossy mac
> screen for live shows?
> is there too much glare?
>
> thanks
> fro
>
> ________________________________
> Life on your PC is safer, easier, and more enjoyable with Windows Vista(R).
> See how

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 02:53:12 2008
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From: "SP Goodman" <spgoodman@earthlight.net>
To: <Loopers-Delight@loopers-delight.com>
References: <20081224182657.974603BE80@arsenic.violacea.com> <D50780B27E04493FABCBB0474EB42202@embryo> <COL118-W2FAF412FBF042E0E44C9CDBED0@phx.gbl> <39A06419710C4283B799E7F45E9EAEB7@NORBY11> <a8a60dc10812241453p6314b3a8q21ea40884461d568@mail.gmail.com>
Subject: Merry Christmas
Date: Thu, 25 Dec 2008 02:53:03 -0000
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..and Happy Holidays to all!

Sorry I haven't got my tracks finished for my online 'card' yet - I'll 
extrude this tomorrow, or at least give a good try.  For some reason I find 
myself remembering Mr Garrison's way.  Until tomorrow then!  Santa's coming 
and I have a fairly-flat roof.

SP Goodman
*
http://www.vimeo.com/spgoodman
http://www.youtube.com/spgoodman
http://www.last.fm/music/Stephen+Goodman

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 04:01:31 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Wah Wahs Ho Hos
Date: Wed, 24 Dec 2008 20:01:23 -0800
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  Over the eons I've had different wah wahs from Crybaby to Vox to RMC Wah
to Fulltone Clyde , to my latest Wah,  A Dunlop 95Q. Being the John Waters
fan I am, I'm tempted to buy a Mister Crybaby, so when people ask me is that
a crybaby? I can say "That's Mr. Crybaby to You!!!"  I bought the 95Q
because I had read an interview with Luther Dickinson whose music I don't
really know other than he is now playing with the Black Crows so I know he
is a southern roots rock dude. He mentioned the 95Q and the reason he liked
it is it had no on off switch and instead had a switch-less sensor in the
heal down position, and the wah was engaged simply by stepping on it and
moving the pedal (like the Morley Bad Horsie does). Because it has a flat
spring that keeps the pedal in the heel down position, its not the best wah
for people who want to turn it on and leave it in a fixed position. This
doesn't mean you can't do that, only that you must leave your foot on the
pedal to find your sweet spot. What's really cool about it for funk playing
is the wah starts from the bass sound which means its easier to drop in to
the sound without first having to slam your toe down to engage the wah,  and
starting from its most open trebly position. I find it makes transitions
between  wah and  no wah smoother as a result, because I realized I like the
sound of starting from the heal down better.  I also like the fact that I
can quickly take my foot off the wah and it's off. It has a Q adjustment on
the side as well as a volume control for the boost function, which is
mounted on the opposite side as a kick switch. I haven't used the boost much
but it's certainly enough to overdrive the front end of a small tube amp. It
would put some hair on a champ for sure, though the speaker might start
choking.  One thing I like to do is simultaneous volume swells with my pinky
on the Strat's volume control as I swell the wah,  or better yet use the
volume swell/delay preset on a DL-4 at the same time.  I suppose many people
have happened upon this "dual envelope" technique, it works great with delay
and verb on big chords and slow to moderate melodies. 

 I also love to use the wah as a very slow filter as I'm playing a very
syncopated rhythm. As far as the sound of the 95Q, its capable of anything
from cleaner  Curtis Mayfield stuff to more half cocked, find the sweet
spot, Brian May approach.   Mayfield and May, wah wah  masters  both. And
then there's Jimi.....wow awowwow wawawow chicka wow awowwow
wida..chicka........

If Jimi were alive I wonder which wah wah he would use??? That was in poor
taste.  I was looking for a wah that had a bit more tweak-able versatility
and I was really curious to see if I'd like the no switch feature and I
really like this wah and its fast on off response.. Not as expensive as the
boutique guys or signature pedals.let me see at last count, Jimi Hendrix has
a signature wah ( actually two if you count the wah in the Experience Multi
effect pedal), Buddy Guy has a polka dot one, Steve Vai  has at least one,
Zack Wilde has a wah, Dimebag has one, Eddie Van Halen of course,  Clapton
should have one I don't think the crossroads pedal has wah though I may be
wrong, Brian May should too though I think his red special pedal might have
wah settings. Does any one else have a signature wah?          I'm thinking
I'd like to have one.  

The  Billy Wow Wow pedal  with Vocal-essence  !!!  It would have presets for
gargle and throat clear sounds as well, and come in custom colors to match
people's hair. Oops I think I've too much Christmas Cheer.

 Happy Holidays looping buddies

Bill

 


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
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font-family:Arial'>&nbsp; Over the eons I&#8217;ve had different wah =
wahs from
Crybaby to Vox to RMC Wah to Fulltone Clyde , to my latest Wah, &nbsp;A =
Dunlop
95Q. Being the John Waters fan I am, I&#8217;m tempted to buy a Mister =
Crybaby,
so when people ask me is that a crybaby? I can say &#8220;That&#8217;s =
Mr. Crybaby
to You!!!&#8221; &nbsp;I bought the 95Q because I had read an interview =
with
Luther Dickinson whose music I don&#8217;t really know other than he is =
now
playing with the Black Crows so I know he is a southern roots rock dude. =
He mentioned
the 95Q and the reason he liked it is it had no on off switch and =
instead had a
switch-less sensor in the heal down position, and the wah was engaged =
simply by
stepping on it and moving the pedal (like the Morley Bad Horsie does). =
Because
it has a flat spring that keeps the pedal in the heel down position, its =
not
the best wah for people who want to turn it on and leave it in a fixed
position. This doesn&#8217;t mean you can&#8217;t do that, only that you =
must
leave your foot on the pedal to find your sweet spot. What&#8217;s =
really cool
about it for funk playing is the wah starts from the bass sound which =
means its
easier to drop in to the sound without first having to slam your toe =
down to
engage the wah, &nbsp;and starting from its most open trebly position. I =
find
it makes transitions between &nbsp;wah and &nbsp;no wah smoother as a =
result,
because I realized I like the sound of starting from the heal down =
better. &nbsp;I
also like the fact that I can quickly take my foot off the wah and =
it&#8217;s
off. It has a Q adjustment on the side as well as a volume control for =
the
boost function, which is mounted on the opposite side as a kick switch. =
I haven&#8217;t
used the boost much but it&#8217;s certainly enough to overdrive the =
front end
of a small tube amp. It would put some hair on a champ for sure, though =
the
speaker might start choking. &nbsp;One thing I like to do is =
simultaneous
volume swells with my pinky on the Strat&#8217;s volume control as I =
swell the
wah, &nbsp;or better yet use the volume swell/delay preset on a DL-4 at =
the
same time. &nbsp;I suppose many people have happened upon this =
&#8220;dual
envelope&#8221; technique, it works great with delay and verb on big =
chords and
slow to moderate melodies. <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;I also love to use the wah as a very slow =
filter as I&#8217;m
playing a very syncopated rhythm. As far as the sound of the 95Q, its =
capable
of anything from cleaner&nbsp; Curtis Mayfield stuff to more half =
cocked, find
the sweet spot, Brian May approach. &nbsp;&nbsp;Mayfield and May, wah =
wah&nbsp;
masters &nbsp;both. And then there&#8217;s =
Jimi&#8230;&#8230;&#8230;&#8230;&#8230;wow
awowwow wawawow chicka wow awowwow =
wida&#8230;.chicka&#8230;&#8230;&#8230;&#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'>If Jimi were alive I wonder which wah wah he would =
use??? That
was in poor taste&#8230; &nbsp;I was looking for a wah that had a bit =
more
tweak-able versatility and I was really curious to see if I&#8217;d like =
the no
switch feature and I really like this wah and its fast on off response.. =
Not as
expensive as the boutique guys or signature pedals&#8230;let me see at =
last
count, Jimi Hendrix has a signature wah ( actually two if you count the =
wah in
the Experience Multi effect pedal), Buddy Guy has a polka dot one, Steve =
Vai &nbsp;has
at least one, Zack Wilde has a wah, Dimebag has one, Eddie Van Halen of =
course,&nbsp;
Clapton should have one I don&#8217;t think the crossroads pedal has wah =
though
I may be wrong, Brian May should too though I think his red special =
pedal might
have wah settings. Does any one else have a signature =
wah?&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
&nbsp;I&#8217;m thinking I&#8217;d like to have one. =
&nbsp;<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'>The &nbsp;Billy Wow Wow pedal &nbsp;with =
Vocal-essence&nbsp;
!!!&nbsp; It would have presets for gargle and throat clear sounds as =
well, and
come in custom colors to match people&#8217;s hair. Oops I think =
I&#8217;ve too
much Christmas Cheer.<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;Happy Holidays looping =
buddies<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>

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

</div>

</body>

</html>

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        <Loopers-Delight@loopers-delight.com>
References: <101191640812240504t53fdb01bua28c37d383dc92c@mail.gmail.com>
Subject: RE: WAH WAHS
Date: Wed, 24 Dec 2008 20:08:40 -0800
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Actually warren I think that the Gordius Midi controller really handles midi
cc zippering flawlessly, a big step up from say,  an FCB 1010. Costs as much
as three or four behringer pedals but will last longer I believe. I'm very
happy with mine. Not sure about plug ins, not there yet.

 Bill

 

  _____  

From: Warren Sirota [mailto:wsirota@wsdesigns.com] 
Sent: Wednesday, December 24, 2008 5:05 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: WAH WAHS

 

I love wah-wah, but I use it mainly to add expression to individual notes,
to help make up for the fact that the guitar is not bowed. Jimi was ever my
inspiration for this (also, I guess, Steve Stills' playing on Season of the
Witch on that Supersession album from 1969 or so) , always hated funk
auto-wah. Unfortunately, being as digital as I am is not good for wah-ing: I
have never heard (and I gave up trying about 10 years ago, so this is a very
outdated opinion) a digital wah-wah with any balls, and even if I found one,
controlling it with a zipper-inducing MIDI cc pedal does not stand much of a
chance of working, unless the wah-wah plug-in is very good at interpolating
between zipper teeth (I know this is possible. whether anyone does it or not
is another story).

I used a crybaby for many years. Sold it a while ago, but I still love the
use of pedals to make individual notes more expressive - controlling ring
mod depth, or using it like a mod wheel to push in some lfo modulation.

In contradiction to what I said above (that didn't take long) I *do* use one
digital wah effect, or at least did recently - I used a very extreme
wah-like effect ("Traveller") in my old Korg AX-1000g on
http://warrensirota.com/Brian/Tuffer.mp3. One thing that was interesting
(challenging) about the effect is that is was too extreme to use the full
range of motion on your foot, resulting in a
just-barely-on-the-edge-of-control aspect to the playing. And there's no
zippering, because I was controlling via the integrated pedal, not via MIDI.


-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.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'>Actually warren I think that the =
Gordius
Midi controller really handles midi cc zippering flawlessly, a big step =
up from
say, &nbsp;an FCB 1010. Costs as much as three or four behringer pedals =
but will
last longer I believe. I&#8217;m very happy with mine. Not sure about =
plug ins,
not there yet.<o:p></o:p></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;Bill<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

<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'> =
Warren Sirota
[mailto:wsirota@wsdesigns.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Wednesday, December =
24, 2008
5:05 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b><st1:PersonName =
w:st=3D"on">
 Loopers-Delight@loopers-delight.com</st1:PersonName><br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: WAH =
WAHS</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>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>I love wah-wah, but I use it mainly to add expression to =
individual
notes, to help make up for the fact that the guitar is not bowed. Jimi =
was ever
my inspiration for this (also, I guess, Steve Stills' playing on Season =
of the
Witch on that Supersession album from 1969 or so) , always hated funk =
auto-wah.
Unfortunately, being as digital as I am is not good for wah-ing: I have =
never
heard (and I gave up trying about 10 years ago, so this is a very =
outdated
opinion) a digital wah-wah with any balls, and even if I found one, =
controlling
it with a zipper-inducing MIDI cc pedal does not stand much of a chance =
of
working, unless the wah-wah plug-in is very good at interpolating =
between
zipper teeth (I know this is possible. whether anyone does it or not is =
another
story).<br>
<br>
I used a crybaby for many years. Sold it a while ago, but I still love =
the use
of pedals to make individual notes more expressive - controlling ring =
mod
depth, or using it like a mod wheel to push in some lfo modulation.<br>
<br>
In contradiction to what I said above (that didn't take long) I *do* use =
one
digital wah effect, or at least did recently - I used a very extreme =
wah-like
effect (&quot;Traveller&quot;) in my old Korg AX-1000g on <a
href=3D"http://warrensirota.com/Brian/Tuffer.mp3">http://warrensirota.com=
/Brian/Tuffer.mp3</a>.
One thing that was interesting (challenging) about the effect is that is =
was
too extreme to use the full range of motion on your foot, resulting in a
just-barely-on-the-edge-of-control aspect to the playing. And there's no
zippering, because I was controlling via the integrated pedal, not via =
<st1:place
w:st=3D"on">MIDI</st1:place>.<br>
<br>
<br>
-- <br>
<st1:City w:st=3D"on"><st1:place =
w:st=3D"on">Warren</st1:place></st1:City><br>
<a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ube=
too.com/Artist.taf?_ArtistId=3D6679</a><br>
<a =
href=3D"http://www.warrensirota.com">http://www.warrensirota.com</a><o:p>=
</o:p></span></font></p>

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</body>

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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <495031AF.5080708@cruzio.com>
Subject: Re: BOID ALGORITHMS and the CONTRAINT OF RANDOMNESS
Date: Wed, 24 Dec 2008 23:13:32 -0500
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I ran across this, 
http://www.ted.com/index.php/talks/steven_strogatz_on_sync.html
more on natural syncing.

jeff

----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Monday, December 22, 2008 7:32 PM
Subject: BOID ALGORITHMS and the CONTRAINT OF RANDOMNESS


> We've talked about Boid Algorithms here before.
> They are the plottings of the contraint of randomness found in
> flocking birds.
>
> Here is an amazing video of flocking birds that I just saw:
>
> Wow, talk about morphing patterning in nature.
>
> http://video.yahoo.com/network/100000086?v=2963992&l=100000085
>


--------------------------------------------------------------------------------



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3:08 PM

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 08:13:33 2008
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   I agree that envelope filters can be very expressive on bass=2Cs et resp=
ond to a fast staccato attack it can  make a bass sound like it's talking=
=2C I recall an obscure wah pedal that also had an yoy yoy setting . I like=
 to use volume and wah  so the volume increases with the Q=2Cgood for stabs=
. I like the Bhudda Wah cause it's purple and says Bhudda.=20

--_c7b996bf-cdd8-4506-84f2-88229d0a7a61_
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&nbsp=3B&nbsp=3B I agree that envelope filters can be very expressive on ba=
ss=2Cs et respond to a fast staccato attack it can&nbsp=3B make a bass soun=
d like it's talking=2C I recall an obscure wah pedal that also had an yoy y=
oy setting . I like to use volume and wah&nbsp=3B so the volume increases w=
ith the Q=2Cgood for stabs. I like the Bhudda Wah cause it's purple and say=
s Bhudda. <br></body>
</html>=

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Date: Thu, 25 Dec 2008 02:34:18 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: RE: question for those using presonus firefox and mobius
To: Loopers-Delight@loopers-delight.com
In-Reply-To: <7872203368197C4691224688958BE7144DE130AA06@barq.sailpoint.com>
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Hi Jeff,
on the mac version it works great,i wanted to test mobius in both platforms with one computer but i guess is not possible.
cheers
Luis

www.myspace.com/luisangulocom


--- On Tue, 12/23/08, Jeff Larson <jeff.larson@sailpoint.com> wrote:

> From: Jeff Larson <jeff.larson@sailpoint.com>
> Subject: RE: question for those using presonus firefox and mobius
> To: "Loopers-Delight@loopers-delight.com" <Loopers-Delight@loopers-delight.com>
> Date: Tuesday, December 23, 2008, 11:10 AM
> > I am having problems with mobius recognizing the
> firebox drivers on my
> > macbook (PC side i just installed parallels)everything
> seems cool i
> > can play audio etc. but the drivers arent listed in
> mobius,any ideas?
> > thanx Luis
> 
> If you're trying to run the Windows version of Mobius
> under Parallels,
> I've never heard of that working.  I'm not familiar
> with Parallels but
> most "virtualization" products have difficulty
> with audio devices.
> 
> If you're running Mac Mobius then any Core Audio device
> should
> show up on the list.  I use a product to communicate with
> the audio
> devices called PortAudio.  Bidule uses this too so if the
> device
> shows up in Bidule, it should show up in Mobius.
> 
> Jeff


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 10:42:49 2008
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Date: Thu, 25 Dec 2008 02:42:47 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
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Subject: merry hohoho!
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may your favorite looper come true!
Mery x-mas

www.myspace.com/luisangulocom


      

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From: Matt Stevens <mattstevensguitar@btinternet.com>
Subject: Re: merry hohoho!
Date: Thu, 25 Dec 2008 11:20:25 +0000
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--Apple-Mail-1-641239384
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Merry xmas loopers

Matt Stevens
www.mattstevensguitar.com
mattstevensguitar@btinternet.com




On 25 Dec 2008, at 10:42, L.Angulo wrote:

> may your favorite looper come true!
> Mery x-mas
>
> www.myspace.com/luisangulocom
>
>
>
>


--Apple-Mail-1-641239384
Content-Transfer-Encoding: quoted-printable
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Merry xmas loopers<div><br><div> <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; "><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-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: 0px; "><div>Matt =
Stevens</div><div>www.mattstevensguitar.com</div><div><a =
href=3D"mailto:mattstevensguitar@btinternet.com">mattstevensguitar@btinter=
net.com</a></div><div><br></div></span><br =
class=3D"Apple-interchange-newline"></span><br =
class=3D"Apple-interchange-newline"> </div><br><div><div>On 25 Dec 2008, =
at 10:42, L.Angulo wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">may your favorite looper come true!</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">Mery x-mas</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; =
">www.myspace.com/luisangulocom</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; min-height: 14px; "><br></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; =
min-height: 14px; "><br></div> =
</blockquote></div><br></div></body></html>=

--Apple-Mail-1-641239384--

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 11:56:21 2008
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Date: Thu, 25 Dec 2008 06:53:27 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Listen To Afterglow, Galactic Travels, The AM/FM Show,
 and Electro-music
To: undisclosed-recipients:;
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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
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


GALACTIC TRAVELS ON WDIY:                   http://galactictravels.info
=======================================================================
Tonight at 11 pm on Galactic Travels, I'll conclude the month-long
Special Focus on Tangerine Dream, the most emulated band in electronic
music.  The Featured CD at Midnight will "Autumn In Hiroshima" by
Tangerine Dream on Eastgate Records.

For details, see the Special Focus page at:
http://wdiy.org/programs/gt/playlists/2008/focus.html#oct

Become a friend of Galactic Travels on MySpace at:
http://myspace.com/galactictravels

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.  Listen at http://war.str3am.com:7880/listen.pls on the internet.


AFTERGLOW ON WMUH:                      http://soundscapes.us/afterglow
=======================================================================
Afterglow will have an extra show from noon to 2:00 pm on Friday,
December 26.  This will be an all Progressive Rock episode.

Tune in at 91.7 FM or on the internet at:
http://muhlenberg.edu/wmuh
Check out Afterglow on MySpace at:
http://myspace.com/afterglowonwmuh


THE AM/FM SHOW ON WMUH:                      http://soundscapes.us/amfm
=======================================================================
My next stint on the AM/FM Show will be Saturday, December 27 at 6:00
am.  I will continue the special on Sequences 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


ELECTRO-MUSIC:                                 http://electro-music.com
=======================================================================
On NYE, listen here: <http://electro-music.com/radio>

Announcement at <http://electro-music.com/forum/viewtopic.php?t=22830> says:

We did it in 2006 and 2008 (I think we missed 2007) so why not do it
again? Lets have an online electro-music.com international New Year's
Eve party and electro-jam. Almost all cultures celebrate the January 1st
New Year so this is sure not to offend too many people.

A floating concert is like a floating crap game, it moves around from
location to location.

We will set up our shoutcast server to run all day Dec 31 through Jan 1.
We'd like people in their studios to set up live streaming of
performances, jam sessions, or any kind of musical expression for
streaming. The electro-music.com members and lurkers can tune in and
share the experience.

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 12:10:46 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: loopers-delight@loopers-delight.com
Cc: cwedertz@yahoo.com
Subject: OT  The historic roots of Santa Claus
Date: Thu, 25 Dec 2008 04:08:42 -0800
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I just read the history of Santa Claus at yahoo news and thought it apropos for the season 
to share it with you all.   I print it below.

Also, whilst touring with the great British fingerstyle/altered tuning acoustic guitarist, 
Martin Simpson,  he told me that once, touring in Japan, during the Christmas season (some 
Japanese really get into the Christmas spirit as a kind of exotic experience from what I've heard)   he 
saw a decoration  in a window that had Santa Claus hanging, crucified on a 
Cross.............whooooaaaaa!

Okay, here's my irreverant Christmas card to this wonderful list.
Merry Christmas to all of you, whether you celebrate or not......


love,   Rick

*********
THE HISTORICAL ROOTS OF SANTA CLAUS (an eye opening read)

In ancient times our ancestors found it difficult to deal with the harsh Winter season... obviously with 
out the modern comforts we all enjoy. A mild Winter was always something they longed for, and 
often tried to appears the forces of Nature with various religious activities. The Pagan Vikings would 
dress someone up to represent Old Man Winter, and then make him as welcome as possible. The 
British eventually adopted this custom, and after the advent of Christianity, called him Old Father 
Christmas. He was welcomed into each household to enjoy all the Feasting and festivities. He was 
plied with Mead and food to try and keep him in a good mood. It was hoped that these activities 
would make for a mild Winter and a good Spring. Much later, this ancient Pagan figure, was confused 
with Santa Claus, and today most think of them as one in the same. Actually "Santa Claus", as he is 
most commonly known, started out as a Christian Monk who died in 345 CE. and who eventually 
gained sainthood. Needless to say, he eventually became more popular than "the Christ" and was 
burned in effigy by the French clergy, in the middle part of the 20th century! Finally, in 1969 CE, 
Pope Paul VI demoted him in non-saint status! Today, the fat, jolly, red suited Old Man is actually an 
invention of the Coca-Cola Company. Strange, but true! In 1931, Coca-Cola hired an artist to 
redesign Santa Claus for their Winter advertising campaign.. Red and white are the official colours of 
Coca-Cola, hence the Old Man's new outfit. Since that time, the look of Santa Claus has been carved 
in stone. 

Years ago Father Christmas or Old Man Winter, would appear in green, purple, blue, blue-black or 
even brown, often trimmed with brown, black or white furs. Sometimes even covered head to toe in 
fur skins. But no more! True to Corporate America's goal's, now all see him as the fat jolly man in 
the red suit, with lots of goodies for everyone. 

Before Clement Moore write his famous poem in 1822, Father Christmas travelled by foot or by giant 
White horse (Sleiper? - Odin's eight legged horse). But Moore, a very learned man and professor of 
Literature, changed all of that forever when he introduced the idea of reindeer pulling Santa's sleigh. 
This was not done on a casual whim, but came from an ancient Finnish legend about "Old Man 
Winter". The Ancient Finns belied that Old Man Winter drove the reindeer down the mountains, into 
the lowlands each year with the coming of the cold (food source?). Moore grafted part of this Finnish 
legend onto the existing Farther Christmas. Why eight reindeer? Some scholars have speculated that 
the professor was having some fun with the general populace by perking up his tale with a scholarly 
reference to Odin, who rides an eight legged horse. As well known author, Desmond Morris has 
stated: 

"Odin's horse carried the god around when, clad in a large cloak and hat, he set out to meet his 
people, dispensing rewards and punishments as they were due. There are clearly elements there 
suggesting that Odin was a precursor of the Farther Christmas-Santa Claus figure, and it may have 
amused Moore to incorporate at least one Odin feature in his new creation". So again we find that 
much of what we consider to be strictly a Christian phenomenon... is again, based in Pagan reality

--


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Subject: RE: merry hohoho!
Date: Thu, 25 Dec 2008 13:25:12 +0100
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Friends,
Happy holidays and all the best wishes for everyone and your family :)

--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw
 




From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 13:21:08 2008
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Quoting "L.Angulo" <labaloops@yahoo.com>:
>
> may your favorite looper come true!
> Mery x-mas
>
> www.myspace.com/luisangulocom
>

We wish you a Merry Christmas.
We wish you a Merry Christmas.
We wish you a Merry Christmas.
...

And Merry hohoho to one and all!

-- Kevin

"Ring Christmas bells."
"Merrily Ring."
"Tell all the world..."

(some holiday songs loop!)

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From: "Warren Sirota" <wsirota@wsdesigns.com>
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Bill, you may be right, but I don't see how the transmitter can handle
zippering - it has to be in the receiver. MIDI CC messages have 128 levels
exactly - you can't divide it more finely than that. It may be that the FCB
doesn't sample the pedal motion as frequently as the gordius, so the FCB
would skip more intermediate values, leading to worse performance than need
be, but even a "complete" sweep, where every number from 0 to 127 is sent,
will create *some* zippering on the receiving end if the receiver (i.e.,
plug-in or effect) switches between received values instead of slewing
between them. This will be more evident in some parameters than others. (and
i don't remember whether the fcb has a MIDI thinning function in it, which
if present may be turned on by default - that would exacerbate any zippering
problems, I'd imagine).

Now, if you were using a pitch wheel to control the wah, or a footcontroller
of comparable resolution (which I've never heard of, but may exist), then
it's a different story, because the resolution is something like 8,000
divisions in the pitch bend sphere versus 128 for regular CCs (if my memory
is correct - it's gotta be at least 10 years since I really looked at these
numbers)

On Wed, Dec 24, 2008 at 11:08 PM, William Walker <billwalker@baymoon.com>wrote:

>  Actually warren I think that the Gordius Midi controller really handles
> midi cc zippering flawlessly, a big step up from say,  an FCB 1010. Costs as
> much as three or four behringer pedals but will last longer I believe. I'm
> very happy with mine. Not sure about plug ins, not there yet.
>
>  Bill
>
>
>  ------------------------------
>
> *From:* Warren Sirota [mailto:wsirota@wsdesigns.com]
> *Sent:* Wednesday, December 24, 2008 5:05 AM
> *To:* Loopers-Delight@loopers-delight.com
> *Subject:* Re: WAH WAHS
>
>
>
> I love wah-wah, but I use it mainly to add expression to individual notes,
> to help make up for the fact that the guitar is not bowed. Jimi was ever my
> inspiration for this (also, I guess, Steve Stills' playing on Season of the
> Witch on that Supersession album from 1969 or so) , always hated funk
> auto-wah. Unfortunately, being as digital as I am is not good for wah-ing: I
> have never heard (and I gave up trying about 10 years ago, so this is a very
> outdated opinion) a digital wah-wah with any balls, and even if I found one,
> controlling it with a zipper-inducing MIDI cc pedal does not stand much of a
> chance of working, unless the wah-wah plug-in is very good at interpolating
> between zipper teeth (I know this is possible. whether anyone does it or not
> is another story).
>
> I used a crybaby for many years. Sold it a while ago, but I still love the
> use of pedals to make individual notes more expressive - controlling ring
> mod depth, or using it like a mod wheel to push in some lfo modulation.
>
> In contradiction to what I said above (that didn't take long) I *do* use
> one digital wah effect, or at least did recently - I used a very extreme
> wah-like effect ("Traveller") in my old Korg AX-1000g on
> http://warrensirota.com/Brian/Tuffer.mp3. One thing that was interesting
> (challenging) about the effect is that is was too extreme to use the full
> range of motion on your foot, resulting in a
> just-barely-on-the-edge-of-control aspect to the playing. And there's no
> zippering, because I was controlling via the integrated pedal, not via MIDI.
>
>
> --
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=6679
> http://www.warrensirota.com
>



-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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Bill, you may be right, but I don&#39;t see how the transmitter can handle
zippering - it has to be in the receiver. MIDI CC messages have 128
levels exactly - you can&#39;t divide it more finely than that. It may be
that the FCB doesn&#39;t sample the pedal motion as frequently as the
gordius, so the FCB would skip more intermediate values, leading to
worse performance than need be, but even a &quot;complete&quot; sweep, where
every number from 0 to 127 is sent, will create *some* zippering on the
receiving end if the receiver (i.e., plug-in or effect) switches
between received values instead of slewing between them. This will be
more evident in some parameters than others. (and i don&#39;t remember
whether the fcb has a MIDI thinning function in it, which if present
may be turned on by default - that would exacerbate any zippering
problems, I&#39;d imagine).<br>
<br>Now, if you were using a pitch wheel to control the wah, or a
footcontroller of comparable resolution (which I&#39;ve never heard of, but
may exist), then it&#39;s a different story, because the resolution is
something like 8,000 divisions in the pitch bend sphere versus 128 for
regular CCs (if my memory is correct - it&#39;s gotta be at least 10 years
since I really looked at these numbers)<br><br><div class="gmail_quote">On Wed, Dec 24, 2008 at 11:08 PM, William Walker <span dir="ltr">&lt;<a href="mailto:billwalker@baymoon.com">billwalker@baymoon.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">












<div link="blue" vlink="blue" lang="EN-US">

<div>

<p><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">Actually warren I think that the Gordius
Midi controller really handles midi cc zippering flawlessly, a big step up from
say, &nbsp;an FCB 1010. Costs as much as three or four behringer pedals but will
last longer I believe. I'm very happy with mine. Not sure about plug ins,
not there yet.</span></font></p>

<p><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">&nbsp;Bill</span></font></p>

<p><font color="navy" face="Arial" size="2"><span style="font-size: 10pt; font-family: Arial; color: navy;">&nbsp;</span></font></p>

<div>

<div style="text-align: center;" align="center"><font face="Times New Roman" size="3"><span style="font-size: 12pt;">

<hr align="center" size="2" width="100%">

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

<p><b><font face="Tahoma" size="2"><span style="font-size: 10pt; font-family: Tahoma; font-weight: bold;">From:</span></font></b><font face="Tahoma" size="2"><span style="font-size: 10pt; font-family: Tahoma;"> Warren Sirota
[mailto:<a href="mailto:wsirota@wsdesigns.com" target="_blank">wsirota@wsdesigns.com</a>] <br>
<b><span style="font-weight: bold;">Sent:</span></b> Wednesday, December 24, 2008
5:05 AM<div class="Ih2E3d"><br>
<b><span style="font-weight: bold;">To:</span></b>
 <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
</div><b><span style="font-weight: bold;">Subject:</span></b> Re: WAH WAHS</span></font></p>

</div><div><div></div><div class="Wj3C7c">

<p><font face="Times New Roman" size="3"><span style="font-size: 12pt;">&nbsp;</span></font></p>

<p><font face="Times New Roman" size="3"><span style="font-size: 12pt;">I love wah-wah, but I use it mainly to add expression to individual
notes, to help make up for the fact that the guitar is not bowed. Jimi was ever
my inspiration for this (also, I guess, Steve Stills&#39; playing on Season of the
Witch on that Supersession album from 1969 or so) , always hated funk auto-wah.
Unfortunately, being as digital as I am is not good for wah-ing: I have never
heard (and I gave up trying about 10 years ago, so this is a very outdated
opinion) a digital wah-wah with any balls, and even if I found one, controlling
it with a zipper-inducing MIDI cc pedal does not stand much of a chance of
working, unless the wah-wah plug-in is very good at interpolating between
zipper teeth (I know this is possible. whether anyone does it or not is another
story).<br>
<br>
I used a crybaby for many years. Sold it a while ago, but I still love the use
of pedals to make individual notes more expressive - controlling ring mod
depth, or using it like a mod wheel to push in some lfo modulation.<br>
<br>
In contradiction to what I said above (that didn&#39;t take long) I *do* use one
digital wah effect, or at least did recently - I used a very extreme wah-like
effect (&quot;Traveller&quot;) in my old Korg AX-1000g on <a href="http://warrensirota.com/Brian/Tuffer.mp3" target="_blank">http://warrensirota.com/Brian/Tuffer.mp3</a>.
One thing that was interesting (challenging) about the effect is that is was
too extreme to use the full range of motion on your foot, resulting in a
just-barely-on-the-edge-of-control aspect to the playing. And there&#39;s no
zippering, because I was controlling via the integrated pedal, not via MIDI.<br>
<br>
<br>
-- <br>
Warren<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679" target="_blank">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br>
<a href="http://www.warrensirota.com" target="_blank">http://www.warrensirota.com</a></span></font></p>

</div></div></div>

</div>


</blockquote></div><br><br clear="all"><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>


------=_Part_112708_29193955.1230211915596--

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Date: Thu, 25 Dec 2008 15:04:40 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: OT The historic roots of Santa Claus
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On Thu, Dec 25, 2008 at 1:08 PM, Rick Walker <looppool@cruzio.com> wrote:
> So again we find that
> much of what we consider to be strictly a Christian phenomenon... is again, based in Pagan reality


Thank you for that highly instresting story! Around here I  see an
increased interest in the original Swedish/Nordic culture that was
almost wiped out by the Christian "movement", beginning in 829 (first
Christ rep Ansgar showed up here then, from France,  and started out
spreading the ideas among slaves) . It's fun to find out how smart
those early Christians were, they simply changed the names on many of
the local  traditions in order to let people get on with their normal
life and crating the impression to outside onlookers and later
generations that the culture was fully "christened". The Santa Claus
character is to be found here in the original culture (pre
chistianity) as a sort of "forest gnome". Still in the ninetieth
century some people at non urban areas believed that you have to put
out a plate of porridge on the outer doorstep to feed the "forest
gnome" before going to bed at x-mas night. If remembering to do so,
nothing would happen and life would go on as usual - but if you forgot
to put out his stuff this little guy might get annoyed and cast a bad
spell at your animals, resulting in that you may be stroke with a dead
cow or pig when waking up the next morning. Actually, people believed
that these gnomes were friends with the animals and helped the farmers
to look after them every day and night - no only at Christmas time. So
they were actually regarded as "friends" if treated properly.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Date: Thu, 25 Dec 2008 23:43:46 +0900
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From: Mech <mech@m3ch.net>
Subject: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special
 sauce, secret goo)
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At 8:50 AM -0500 12/20/08, Jeff Duke wrote:
>Arrghh! Now i want to put a Fuzz Factory into the loop of the Eye Of 
>God! Did you check out that Peep also? 
><http://www.deviever.com/fx/peep/index.html>http://www.deviever.com/fx/peep/index.html , 
>these people are just wrong! Too many boxes that I want to try.
>Thanks a bunch Mark, crap...http://www.deviever.com/fx/

Heheheheh!  Devi's stuff rox!

I've been over on her forums for a couple of years now (i use the 
username 'glitch' over there), and it's a genuinely interesting 
place.  It's one of only three web-forums that have ever consistently 
held my attention, considering that I usually hate forums and stick 
with email lists most of the time.  If you haven't stopped over, it's 
worth a look.

Heck, I know Daryl even used to have a couple of sound samples of his 
on the old Effector 13 page for the Truly Beautiful Disaster. 
However, Devi used to re-design her site rather incessantly (not to 
mention having now sold the E13 name and 4 pedal designs to OohLaLa 
Mfg.) so you've probably got to take a look through archive.org to 
find those samples now.

Anyway, I've got to own at least a dozen Devi pedals by this time -- 
they're addictive.  The only ones I'm using regularly though (because 
most of them are in a storage locker on another continent) are my 
Hyperion -- which is a modern updated take on the "Big Muff" sound 
(it's even been nicknamed the "Big Muff Killer") -- running into my 
US.  The US is a heavily saturated gated fuzz, which is excellent for 
"velcro" type ripping fuzz sounds.  The Hype can cause a note to 
sustain for days, then the US does an excellent job of tearing at the 
edges as it begins to fade away.

BTW, many of Devi's pedals are dual circuits -- like the Manglers, 
Rocket, or Shoegazer, for instance.  You can also achieve much the 
same effect by combining two of the individual pedals, which is what 
I usually opt for.  In fact, this is exactly why Devi started 
publishing her Artifact line in the first place; as a collection of 
inexpensive yet interesting fuzzes that could be mixed-and-matched 
together, or swapped with your pals like trading cards. 
Unfortunately, you do lose the joystick control from some models by 
doing it that way.

Also, I just brought my 25 and ND back from the States.  The 25 is 
one of the best treble/clean boosters I've ever used, and when paired 
with a compressor (in this case, one of the little green Guyatones) 
it's fantastic for kicking in that clean, country-like "chickin' 
pickin'" tone.  One the other hand, the ND is just out of control: 
bizarre, octavia, nearly-sitarlike, screaming fuzz.  There's only one 
other Devi pedal that is said to get wilder -- the DN, which people 
claim will melt your brain.  Although the Aenima gets a fair bit of 
props too.

Speaking of the Peeps, they're great -- very cool for realtime 
control.  I've even taken one and plugged it into the audio input on 
a Torn's Peaker.  It'll get you all kinds of cool, light-controlled 
self-oscillating tones.  Run that through a tape echo or simulator, 
and you've got "Forbidden Planet" in the palm of your hand.

As for other *radical* fuzzes, I'd also throw a plug in for the 
Lastgasp Art Labs SuperOscilloFuzz Hachijuhachi (88).  It's right up 
there with Devi's pedals in terms of craziness.  And because of the 
switch controls, it can cover the same ground that you might need 
several individual boxes to accomplish (oscillating distortion, 
octave modulations, velcro fuzz, etc.).

I've got a Zvex Machine, but don't find it nearly as musical(?!?) as 
the Devi pedals.  Go figure.  It will get pretty far out there.  Just 
sounds more like a broken Marshall amp, though.  Mebbe I should try 
it with drums....

Finally, here's another plug for the good old Alesis Bitrman.  I just 
can't seem to get enough bit-reduction, as well as the associated 
artifacting that always seems to come from it.  BTW, anybody gotten a 
chance to play with the Geiger Counter from WMD yet?

	--m.

(P.S. sorry for the late reply here.  i just got back from a 10-day 
hell-trip to the united states.  never been so glad to leave a 
country.  argh!)
-- 
_____
"we're no longer sure where home is; homesickness is our only guide"

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At 11:30 PM +0100 12/23/08, Rainer Straschill wrote:
>Rick,
>
>my wah suggestion will most probably not be any help...for most of the
>time, I've been using a Nord MicroModular for those typical "wah"
>purposes, along with the FilterFactory (when I still had it) - both of
>them also a lot with filter modulated by an LFO or step sequencer.

I'll certainly second Rainer's recommendation of the Nord MicroMod, 
as well as the Electrix Filter Factory, however with one caveat on 
the latter:

The Electrix Filter Queen -- the Filter Factory's little brother (er, 
sister?) -- is slightly more user-friendly as a Wah replacement, 
IMNSHO.  The main reason for this being that rather than MIDI, it can 
be controlled by a plain old expression pedal.  So, those of you who 
may have an issue with zipper-noise can consider that a viable option 
for filter sweeps without having to worry about artifacts.

Like Rick, I really rather dislike the wildly-sweeping "funk wah" 
style, also finding it rather, um, obnoxious.  However, there's a 
whole list of good things to be said for the "parked wah" effect, 
where the wah is merely used as a static tuned filter.

Oh, and finally...

At 4:46 PM +0100 12/24/08, Rainer Straschill wrote:
>ps: the usual. A merry fucking christmas to all of you!

As well, Happy Holidays to everyone else out there who may be 
observing Chanukah, Yule/Saturnalia, Kwanzaa, Hogswatch, Festivus or 
any other secular or non-secular celebration during this dark 
winterish season (at least here in the northern hemisphere; you guys 
in Australia can go sun yourself and have a beer  ;).

	--m.

-- 
_____
"when you think your dreams are shattered, it's time to dream new dreams"

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Subject: Re: OT  The historic roots of Santa Claus
Date: Thu, 25 Dec 2008 11:43:44 -0300
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Hi Rick!
thank you for this story!

what they dont say:
The swiss (and probably further european) tradition is a visit of Sta  
Claus on Dec 6!
The old man comes with a donkey and heavily knocks at the door and  
looks up every kid in his huge book and criticizes its bad behaviours  
with the threat to take it with him into the forest (this threatening  
part has faded since I was a kid...) but then ends up forgiving and  
pouring a heap of nuts, cinamon bread and oranges (and chocolate) out  
of his huge bag - which then turns into the dinner of the whole family  
that day. A wonderful party, I think, with a vibe very distinct from  
Christmas.
I made the Sta Claus once and loved to tell the kids about the natural  
life in the forest and vegetarianism... :-)
Its amazing how kids dive into the story and don't even realize that  
some times the old man is their own father!

In our familiy, the being that brings the Chrismas presents was called  
Christ-Kid and I remember I perceived it rather as an angel with long  
white hair than a child...

Jesus is a spirit of light and sun (nicely explained in the Zeitgeist  
movie).
The name Christ means crucified, so to call his birthday Chrismas is  
rather paradox.
And to imitate the tradition here on the south where the sun is at its  
maximum even more...
But we are having nice meetings and good food, all is fine :-)

And I wish you all a lot of light, too!
Matthias

On 25 Dec 2008, at 09:08, Rick Walker wrote:

> I just read the history of Santa Claus at yahoo news and thought it  
> apropos for the season
> to share it with you all.   I print it below.
>
> Also, whilst touring with the great British fingerstyle/altered  
> tuning acoustic guitarist,
> Martin Simpson,  he told me that once, touring in Japan, during the  
> Christmas season (some
> Japanese really get into the Christmas spirit as a kind of exotic  
> experience from what I've heard)   he
> saw a decoration  in a window that had Santa Claus hanging,  
> crucified on a
> Cross.............whooooaaaaa!
>
> Okay, here's my irreverant Christmas card to this wonderful list.
> Merry Christmas to all of you, whether you celebrate or not......
>
>
> love,   Rick
>
> *********
> THE HISTORICAL ROOTS OF SANTA CLAUS (an eye opening read)
>
> In ancient times our ancestors found it difficult to deal with the  
> harsh Winter season... obviously with
> out the modern comforts we all enjoy. A mild Winter was always  
> something they longed for, and
> often tried to appears the forces of Nature with various religious  
> activities. The Pagan Vikings would
> dress someone up to represent Old Man Winter, and then make him as  
> welcome as possible. The
> British eventually adopted this custom, and after the advent of  
> Christianity, called him Old Father
> Christmas. He was welcomed into each household to enjoy all the  
> Feasting and festivities. He was
> plied with Mead and food to try and keep him in a good mood. It was  
> hoped that these activities
> would make for a mild Winter and a good Spring. Much later, this  
> ancient Pagan figure, was confused
> with Santa Claus, and today most think of them as one in the same.  
> Actually "Santa Claus", as he is
> most commonly known, started out as a Christian Monk who died in 345  
> CE. and who eventually
> gained sainthood. Needless to say, he eventually became more popular  
> than "the Christ" and was
> burned in effigy by the French clergy, in the middle part of the  
> 20th century! Finally, in 1969 CE,
> Pope Paul VI demoted him in non-saint status! Today, the fat, jolly,  
> red suited Old Man is actually an
> invention of the Coca-Cola Company. Strange, but true! In 1931, Coca- 
> Cola hired an artist to
> redesign Santa Claus for their Winter advertising campaign.. Red and  
> white are the official colours of
> Coca-Cola, hence the Old Man's new outfit. Since that time, the look  
> of Santa Claus has been carved
> in stone.
>
> Years ago Father Christmas or Old Man Winter, would appear in green,  
> purple, blue, blue-black or
> even brown, often trimmed with brown, black or white furs. Sometimes  
> even covered head to toe in
> fur skins. But no more! True to Corporate America's goal's, now all  
> see him as the fat jolly man in
> the red suit, with lots of goodies for everyone.
>
> Before Clement Moore write his famous poem in 1822, Father Christmas  
> travelled by foot or by giant
> White horse (Sleiper? - Odin's eight legged horse). But Moore, a  
> very learned man and professor of
> Literature, changed all of that forever when he introduced the idea  
> of reindeer pulling Santa's sleigh.
> This was not done on a casual whim, but came from an ancient Finnish  
> legend about "Old Man
> Winter". The Ancient Finns belied that Old Man Winter drove the  
> reindeer down the mountains, into
> the lowlands each year with the coming of the cold (food source?).  
> Moore grafted part of this Finnish
> legend onto the existing Farther Christmas. Why eight reindeer? Some  
> scholars have speculated that
> the professor was having some fun with the general populace by  
> perking up his tale with a scholarly
> reference to Odin, who rides an eight legged horse. As well known  
> author, Desmond Morris has
> stated:
>
> "Odin's horse carried the god around when, clad in a large cloak and  
> hat, he set out to meet his
> people, dispensing rewards and punishments as they were due. There  
> are clearly elements there
> suggesting that Odin was a precursor of the Farther Christmas-Santa  
> Claus figure, and it may have
> amused Moore to incorporate at least one Odin feature in his new  
> creation". So again we find that
> much of what we consider to be strictly a Christian phenomenon... is  
> again, based in Pagan reality
>
> --
>
>

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Date: Thu, 25 Dec 2008 23:45:16 +0900
To: <Loopers-Delight@loopers-delight.com>
From: Mech <mech@m3ch.net>
Subject: Overdrives (was Re: distortion, overdrive,fuzz,crunch,special
 sauce, secret goo)
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At 8:33 AM -0800 12/20/08, William Walker wrote:
>  Me personally, I wasn't trying to make a value judgment of any 
>kind, just stating an aesthetic preference. I like overdrive more 
>than fuzz or distortion. 

Two nice overdrives, from my experience:  First, the Keeley-modified 
Blues Driver is just beautiful for this, IMNSHO.  'Nuff said, there.

Also, the Catalinbread Silver Kiss has a very nice OD circuit paired 
with an interesting 3-band EQ.  The controls all interact with each 
other (in a good way) so you've got to spend a while finding your 
particular tone.  But there's a lot to play with there.  Also, it 
cleans up nicely when backing off the volume knob on your guitar, 
much the same way a good tube amp would.  Oh, and you can swap out 
op-amps to experiment with different drive tones too.

	--m.
-- 
_____
"take one step outside yourself. the whole path lasts no longer than 
one step..."

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Subject: Re: WAH WAHS
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I spent quite some time measuring frequency responses of common Wah  
pedals and built my own in the late 70ies...

But then I found the AirFX a LOT better than all others, very quick,  
expressive, funny, noiseless, light, and 3D!

Now I have a Photon keyboard with the same sensor and MIDI output, but  
I did not install it yet and doubt it will work that well...

On 24 Dec 2008, at 14:25, Stephen Scott wrote:

>> And speaking of Alesis: how
>> does the AirFX do as a wah? Anyone has experiences?
>
> Well, there are a couple of useful patches that do manual filter  
> sweeps that work.  Doesn't really sound much like a wah-wah pedal  
> though.  Once you've found the sweet spot, though, it is possible to  
> 'lock' that filter position, if you want to do that.
>
> The AirFx is always a crowd pleaser at a 'not used to looping  
> audience' gig.  Someone will ALWAYS come up to me afterwards to find  
> out why I was waving my hands around like that.
>
>>           Rainer
>>
>> ps: the usual. A merry fucking christmas to all of you!
>
> ditto,
>
> Stephen
>
>
>
>

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Subject: Re: merry hohoho!
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Happy Christmas to all.

And may your New Year loop on on infinite repeat.

Ted Killian & Family

On Dec 25, 2008, at 2:42 AM, L.Angulo wrote:

> may your favorite looper come true!
> Mery x-mas
>
> www.myspace.com/luisangulocom

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Subject: Re: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo)
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Mech, thanks for the heads up on Devis Forum, I wanted to get into DIY and 
there is a great section on this very subject. (Soldering irons heating up) 
I think a Peep clone could be great on lots o' stuff!
And all the best to all of you out there in looper land on this beautiful 
sunny Christmas in Florida, USA! 83 degrees today. sheesh!

Jeff

New little glitchy video thingy at http://www.vimeo.com/2622319


----- Original Message ----- 
From: "Mech" <mech@m3ch.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 25, 2008 9:43 AM
Subject: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special sauce, 
secret goo)


> At 8:50 AM -0500 12/20/08, Jeff Duke wrote:
>>Arrghh! Now i want to put a Fuzz Factory into the loop of the Eye Of
>>God! Did you check out that Peep also?
>><http://www.deviever.com/fx/peep/index.html>http://www.deviever.com/fx/peep/index.html 
>>,
>>these people are just wrong! Too many boxes that I want to try.
>>Thanks a bunch Mark, crap...http://www.deviever.com/fx/
>
> Heheheheh!  Devi's stuff rox!
>
> I've been over on her forums for a couple of years now (i use the
> username 'glitch' over there), and it's a genuinely interesting
> place.  It's one of only three web-forums that have ever consistently
> held my attention, considering that I usually hate forums and stick
> with email lists most of the time.  If you haven't stopped over, it's
> worth a look.
>
> Heck, I know Daryl even used to have a couple of sound samples of his
> on the old Effector 13 page for the Truly Beautiful Disaster.
> However, Devi used to re-design her site rather incessantly (not to
> mention having now sold the E13 name and 4 pedal designs to OohLaLa
> Mfg.) so you've probably got to take a look through archive.org to
> find those samples now.
>
> Anyway, I've got to own at least a dozen Devi pedals by this time -- 
> they're addictive.  The only ones I'm using regularly though (because
> most of them are in a storage locker on another continent) are my
> Hyperion -- which is a modern updated take on the "Big Muff" sound
> (it's even been nicknamed the "Big Muff Killer") -- running into my
> US.  The US is a heavily saturated gated fuzz, which is excellent for
> "velcro" type ripping fuzz sounds.  The Hype can cause a note to
> sustain for days, then the US does an excellent job of tearing at the
> edges as it begins to fade away.
>
> BTW, many of Devi's pedals are dual circuits -- like the Manglers,
> Rocket, or Shoegazer, for instance.  You can also achieve much the
> same effect by combining two of the individual pedals, which is what
> I usually opt for.  In fact, this is exactly why Devi started
> publishing her Artifact line in the first place; as a collection of
> inexpensive yet interesting fuzzes that could be mixed-and-matched
> together, or swapped with your pals like trading cards.
> Unfortunately, you do lose the joystick control from some models by
> doing it that way.
>
> Also, I just brought my 25 and ND back from the States.  The 25 is
> one of the best treble/clean boosters I've ever used, and when paired
> with a compressor (in this case, one of the little green Guyatones)
> it's fantastic for kicking in that clean, country-like "chickin'
> pickin'" tone.  One the other hand, the ND is just out of control:
> bizarre, octavia, nearly-sitarlike, screaming fuzz.  There's only one
> other Devi pedal that is said to get wilder -- the DN, which people
> claim will melt your brain.  Although the Aenima gets a fair bit of
> props too.
>
> Speaking of the Peeps, they're great -- very cool for realtime
> control.  I've even taken one and plugged it into the audio input on
> a Torn's Peaker.  It'll get you all kinds of cool, light-controlled
> self-oscillating tones.  Run that through a tape echo or simulator,
> and you've got "Forbidden Planet" in the palm of your hand.
>
> As for other *radical* fuzzes, I'd also throw a plug in for the
> Lastgasp Art Labs SuperOscilloFuzz Hachijuhachi (88).  It's right up
> there with Devi's pedals in terms of craziness.  And because of the
> switch controls, it can cover the same ground that you might need
> several individual boxes to accomplish (oscillating distortion,
> octave modulations, velcro fuzz, etc.).
>
> I've got a Zvex Machine, but don't find it nearly as musical(?!?) as
> the Devi pedals.  Go figure.  It will get pretty far out there.  Just
> sounds more like a broken Marshall amp, though.  Mebbe I should try
> it with drums....
>
> Finally, here's another plug for the good old Alesis Bitrman.  I just
> can't seem to get enough bit-reduction, as well as the associated
> artifacting that always seems to come from it.  BTW, anybody gotten a
> chance to play with the Geiger Counter from WMD yet?
>
> --m.
>
> (P.S. sorry for the late reply here.  i just got back from a 10-day
> hell-trip to the united states.  never been so glad to leave a
> country.  argh!)
> -- 
> _____
> "we're no longer sure where home is; homesickness is our only guide"
>


--------------------------------------------------------------------------------



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Likewise to all from this corner.
 
Harry  Weinberg, Esq.
Law Offices of Harry Weinberg
11 Beach Street - 8th  Floor
New York, N.Y. 10013
(212) 989-2908  

 
In a message dated 12/25/2008 7:25:43 A.M. Eastern Standard Time,  
tcplugin@scarlet.be writes:

Friends,
Happy holidays and all the best wishes for everyone and  your family :)

---  
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw








**************One site keeps you connected to all your email: AOL Mail, 
Gmail, and Yahoo Mail. Try it now. 
(http://www.aol.com/?optin=new-dp&icid=aolcom40vanity&ncid=emlcntaolcom00000025)

-------------------------------1230228537
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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 6.00.6000.16788" 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>Likewise to all from this corner.</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) 989-2908=20
<DIV>&nbsp;</DIV>
<DIV>
<DIV>In a message dated 12/25/2008 7:25:43 A.M. Eastern Standard Time,=20
tcplugin@scarlet.be 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>Friends,<BR>Happy holidays and all the best wishes for everyone a=
nd=20
  your family :)<BR><BR>---=20
  <BR>Sjaak<BR>http://www.livelooping.be/<BR>http://www.overgaauw.be/<BR>htt=
p://www.myspace.com/sjaakovergaauw<BR><BR><BR><BR><BR><BR></FONT></BLOCKQUOT=
E></DIV></FONT></DIV></FONT><BR><BR><BR><DIV CLASS=3D"aol_ad_footer" ID=3D"e=
a502797117a1928afb09b7e1902a1e"><FONT style=3D"color: black; font: normal 10=
pt ARIAL, SAN-SERIF;"><HR style=3D"MARGIN-TOP: 10px">One site keeps you conn=
ected to all your email: AOL Mail, Gmail, and Yahoo Mail. <a href=3D"http://=
www.aol.com/?optin=3Dnew-dp&icid=3Daolcom40vanity&ncid=3Demlcntaolcom0000002=
5">Try it now</a>.</FONT></DIV></BODY></HTML>

-------------------------------1230228537--

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 18:35:08 2008
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Subject: wah wah
Date: Thu, 25 Dec 2008 10:35:01 -0800
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 Well per and Warren,
Obviously it isn't possible =A0:-) But I can tell you that since moving =
to the
gordius I've had more consistency in the travel of my CC's throughout =
the
pedals range of travel, no more issues with the pedal not reaching the
maximum or minimum =A0value even though I have calibrated the pedals =
range
accurately. Also I've been using CC's for years and It seems to me that =
most
manufactures have improved their zippering issues with CC's, at least =
the
ones I use, like TC , Roland, and Line 6. Since I haven't tried any of =
this
with modern plug ins I don't know. Maybe I should just shut my pie hole =
:)
happy Holidays.
=A0Bill



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Date: Thu, 25 Dec 2008 19:59:38 +0100
From: Fabio_A <eterogenus@gmail.com>
To: Loopers-Delight@loopers-delight.com, matilists@atarde.com.br
Subject: Re: here and now / evolving loops
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First, I wish you all the best fot your  Xmas Holydays and expeccially for
the incoming new year...

Second....
I have read a lot of times this message from Matthias, because there is
something intriguing me to get
a more conscious approach to looping.
So I think that it's a good to starting point for a new discussion or maybe
for more than one...

I'm interested to know your opinion (or tech) about how do you "renovate"
and "change", when looping ?"
Matthias tech - as I have seen, when he played live at the Y2K7 (with Arild
Anderson) - was to use multiply and feedback.
I enjoined that parformance (I have it in rotation on my i-tunes), a nice
example of "flow".

Personally - in my musical approach - "renovation" implies harmony and
rythmic variation.
Lately, thanks to the new softwares, I use VST plugins to get the "change".
I know it's just a " colour change" and not a "real change", because the
loop that's playing it's not changing its melodic, armonic or rytmic
structure...but that's what I do....

And you ?

And how about "changing direction" ?
What do you mean for it ? (melody, harmony, rythm, colours ?)
How do you do it ?
If I think to Andr=E8 La Fosse style, I ask to myself if he really change
direction...

I'm interested in your opinion.

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo

2008/12/15 Matthias Grob <matilists@atarde.com.br>

> I just had this inspiring chat with Thiagy, a brasilian musician living i=
n
> London:
>
> Thyagi das
>  ...we who?then, arises: Who am 'I'? What is the 'I' that will 'do' it?
>  What is 'I'?
> Matthias Grob
>  It does not necessarily areise.
>  if it does, just listen to your loop
> Thyagi das
>  but isn't listening to the loop add up to more 'conditioned' living?
> instead of spontaneous here and nowness??
> Matthias Grob
>  the loop is like the motion lines in a comic
>  http://www.mangatutorials.com/tut/motionlines.php
> Thyagi das
>  flow...
> Matthias Grob
>  yes, the loop adds direction to the here and nowness
> Thyagi das
>  so end of history. no one to die of this or that, to kill for this or
> that, to struggle for this or that...just effortless
>  Intelligent Existence, flowing, or rather, adding direction as it goes
> along the core Stuff that Runs It all...somehow!
>
> possible practical looping conclusion:
>
> how about helping the listeners to concentrate on the live playing (if on
> the music, at all...)
>  because most energy happens there,
>  while the loop is as dead as a recording, just the history to indicate t=
he
> direction?
> a point can be described by its coordinates and its velocity vector.
> the history of movement suggests such a direction and thus a point in the
> future (conservation),
>  but it can also change suddenly (revolution)... at least it should be
> corrected a little (evolution)!
> looping helps the player to maintain a direction, with less
> surprises/shocks,
>  and thus leaves the listener more confident and at ease (relaxing)
>  but it brings a problem if it becomes static (boring)
>
> without looping
>  we mainly have to learn to play steady and flowing
> with looping
>  we mainly have to learn to renovate and change
>  (I observe that often a new layer does not change direction at all...)
>  use feedback and multitrack to evolve, rather than just color the past
>
> there is nothing wrong with building a song just like painting a picture.
> but we don't watch painters, we just look at the final painting (which
> corresponds to the filled loop)
> the personal benefit from "telling a story" may be bigger than from
> "painting a situation"
>   give it a try!
>
> interestingly the delay machines before 1992 mostly forced us to evolve,
> because they were fading
>  (some had a freeze   function but it often brought a hickup)
> while the more recent loop gear like a RC20 hardly lets us evolve...
>
> in case you did not do so yet, play with a long delay (2...6sec) with
> 60..95% feedback
>  and get the feeling of motion lines that follow you!
>
>

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<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);">Fir=
st, I wish you all the best fot your &nbsp;Xmas Holydays and expeccially fo=
r the incoming new year...</span></div><div><span class=3D"Apple-style-span=
" style=3D"color: rgb(51, 0, 153);"><br>
</span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51, =
0, 153);">Second....</span></div><div><span class=3D"Apple-style-span" styl=
e=3D"color: rgb(51, 0, 153);">I have read a lot of times this message from =
Matthias, because there is something intriguing me to get&nbsp;</span></div=
>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);">a m=
ore conscious approach to looping.</span></div><div><span class=3D"Apple-st=
yle-span" style=3D"color: rgb(51, 0, 153);">So I think that it&#39;s a good=
 to starting point for a new discussion or maybe for more than one...</span=
></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);"><br=
></span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51,=
 0, 153);">I&#39;m interested to know your opinion (or tech) about how do y=
ou &quot;renovate&quot; and &quot;change&quot;, when looping ?&quot;</span>=
</div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);">Mat=
thias tech - as I have seen, when he played live at the Y2K7 (with Arild An=
derson) - was to use multiply and feedback.</span></div><div><span class=3D=
"Apple-style-span" style=3D"color: rgb(51, 0, 153);">I enjoined that parfor=
mance (I have it in rotation on my i-tunes), a nice example of &quot;flow&q=
uot;.</span></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);"><br=
></span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51,=
 0, 153);">Personally - in my musical approach - &quot;renovation&quot; imp=
lies harmony and rythmic variation.&nbsp;</span></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);">Lat=
ely, thanks to the new softwares, I use VST plugins to get the &quot;change=
&quot;. I know it&#39;s just a &quot; colour change&quot; and not a &quot;r=
eal change&quot;, because the loop that&#39;s playing it&#39;s not changing=
 its melodic, armonic or rytmic structure...but that&#39;s what I do....</s=
pan></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);"><br=
></span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51,=
 0, 153);">And you ?</span></div><div><span class=3D"Apple-style-span" styl=
e=3D"color: rgb(51, 0, 153);"><br>
</span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51, =
0, 153);">And how about &quot;changing direction&quot; ?</span></div><div><=
span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);">What do y=
ou mean for it ? (melody, harmony, rythm, colours ?)</span></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);">How=
 do you do it ?&nbsp;</span></div><div><span class=3D"Apple-style-span" sty=
le=3D"color: rgb(51, 0, 153);">If I think to Andr=E8 La Fosse style, I ask =
to myself if he really change direction...</span></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);"><br=
></span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51,=
 0, 153);">I&#39;m interested in your opinion.</span></div><div><span class=
=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);"><br>
</span></div><div><span class=3D"Apple-style-span" style=3D"color: rgb(51, =
0, 153);">Fabio</span></div><div><span class=3D"Apple-style-span" style=3D"=
color: rgb(51, 0, 153);"><a href=3D"http://www.eterogeneo.com">www.eterogen=
eo.com</a></span></div>
<div><span class=3D"Apple-style-span" style=3D"color: rgb(51, 0, 153);"><a =
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</a></=
span></div><br><div class=3D"gmail_quote">2008/12/15 Matthias Grob <span di=
r=3D"ltr">&lt;<a href=3D"mailto:matilists@atarde.com.br">matilists@atarde.c=
om.br</a>&gt;</span><br>
<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 .8ex;border-left:1p=
x #ccc solid;padding-left:1ex;">I just had this inspiring chat with Thiagy,=
 a brasilian musician living in London:<br>
<br>
Thyagi das<br>
 &nbsp;...we who?then, arises: Who am &#39;I&#39;? What is the &#39;I&#39; =
that will &#39;do&#39; it?<br>
 &nbsp;What is &#39;I&#39;?<br>
Matthias Grob<br>
 &nbsp;It does not necessarily areise.<br>
 &nbsp;if it does, just listen to your loop<br>
Thyagi das<br>
 &nbsp;but isn&#39;t listening to the loop add up to more &#39;conditioned&=
#39; living? instead of spontaneous here and nowness??<br>
Matthias Grob<br>
 &nbsp;the loop is like the motion lines in a comic<br>
 &nbsp;<a href=3D"http://www.mangatutorials.com/tut/motionlines.php" target=
=3D"_blank">http://www.mangatutorials.com/tut/motionlines.php</a><br>
Thyagi das<br>
 &nbsp;flow...<br>
Matthias Grob<br>
 &nbsp;yes, the loop adds direction to the here and nowness<br>
Thyagi das<br>
 &nbsp;so end of history. no one to die of this or that, to kill for this o=
r that, to struggle for this or that...just effortless<br>
 &nbsp;Intelligent Existence, flowing, or rather, adding direction as it go=
es along the core Stuff that Runs It all...somehow!<br>
<br>
possible practical looping conclusion:<br>
<br>
how about helping the listeners to concentrate on the live playing (if on t=
he music, at all...)<br>
&nbsp;because most energy happens there,<br>
&nbsp;while the loop is as dead as a recording, just the history to indicat=
e the direction?<br>
a point can be described by its coordinates and its velocity vector.<br>
the history of movement suggests such a direction and thus a point in the f=
uture (conservation),<br>
&nbsp;but it can also change suddenly (revolution)... at least it should be=
 corrected a little (evolution)!<br>
looping helps the player to maintain a direction, with less surprises/shock=
s,<br>
&nbsp;and thus leaves the listener more confident and at ease (relaxing)<br=
>
&nbsp;but it brings a problem if it becomes static (boring)<br>
<br>
without looping<br>
&nbsp;we mainly have to learn to play steady and flowing<br>
with looping<br>
&nbsp;we mainly have to learn to renovate and change<br>
&nbsp;(I observe that often a new layer does not change direction at all...=
)<br>
&nbsp;use feedback and multitrack to evolve, rather than just color the pas=
t<br>
<br>
there is nothing wrong with building a song just like painting a picture.<b=
r>
but we don&#39;t watch painters, we just look at the final painting (which =
corresponds to the filled loop)<br>
the personal benefit from &quot;telling a story&quot; may be bigger than fr=
om &quot;painting a situation&quot;<br>
 &nbsp; give it a try!<br>
<br>
interestingly the delay machines before 1992 mostly forced us to evolve, be=
cause they were fading<br>
&nbsp;(some had a freeze &nbsp; function but it often brought a hickup)<br>
while the more recent loop gear like a RC20 hardly lets us evolve...<br>
<br>
in case you did not do so yet, play with a long delay (2...6sec) with 60..9=
5% feedback<br>
 &nbsp;and get the feeling of motion lines that follow you!<br>
<br>
</blockquote></div><br>

------=_Part_37218_11196697.1230231578999--

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Date: Thu, 25 Dec 2008 20:42:44 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: here and now / evolving loops
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Interesting poll, Fabio! :-)

I like the focus on "story telling" in Matthias post, because that is
something I enjoy hearing in other musicians paying and also try to
bring out in my own live playing. This is opposed to the popular idea
of "playing over the loop".

At the risk of repeating myself I would like to point also at the use
of Rate/Speed Shift as a way to give new musical directions to a loop.
I play with a setup that lets you instantly transform the loop's pitch
according to nine optional intervals. An exciting side of this is this
is that each interval also gives the loop a new length. So there is a
lot of a possible "change" on the loop side to inspire you to invent
melodies that can tie it together as music.

Regarding "Andre La Fosse style" I guess you mean the "substitute
stuff" he calls "turntablism guitar"? I think that style is
interesting but not from a musical story telling view,  rather as a
sound design technique to deconstruct music. I bought his record and I
can't help hearing the music behind the "substitute stuff" as being
jazz rock fusion, a style that doesn't excite me much. You should
listen to his earlier stuff (up on his web site) where he plays very
minimal with just a guitar and the reverse function of the EDP. That's
my favorite "La Fosse Style" that I like very much!

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=3D6550



On Thu, Dec 25, 2008 at 7:59 PM, Fabio_A <eterogenus@gmail.com> wrote:
> First, I wish you all the best fot your  Xmas Holydays and expeccially fo=
r
> the incoming new year...
> Second....
> I have read a lot of times this message from Matthias, because there is
> something intriguing me to get
> a more conscious approach to looping.
> So I think that it's a good to starting point for a new discussion or may=
be
> for more than one...
> I'm interested to know your opinion (or tech) about how do you "renovate"
> and "change", when looping ?"
> Matthias tech - as I have seen, when he played live at the Y2K7 (with Ari=
ld
> Anderson) - was to use multiply and feedback.
> I enjoined that parformance (I have it in rotation on my i-tunes), a nice
> example of "flow".
> Personally - in my musical approach - "renovation" implies harmony and
> rythmic variation.
> Lately, thanks to the new softwares, I use VST plugins to get the "change=
".
> I know it's just a " colour change" and not a "real change", because the
> loop that's playing it's not changing its melodic, armonic or rytmic
> structure...but that's what I do....
> And you ?
> And how about "changing direction" ?
> What do you mean for it ? (melody, harmony, rythm, colours ?)
> How do you do it ?
> If I think to Andr=E8 La Fosse style, I ask to myself if he really change
> direction...
> I'm interested in your opinion.
> Fabio
> www.eterogeneo.com
> www.myspace.com/eterogeneo
> 2008/12/15 Matthias Grob <matilists@atarde.com.br>
>>
>> I just had this inspiring chat with Thiagy, a brasilian musician living =
in
>> London:
>>
>> Thyagi das
>>  ...we who?then, arises: Who am 'I'? What is the 'I' that will 'do' it?
>>  What is 'I'?
>> Matthias Grob
>>  It does not necessarily areise.
>>  if it does, just listen to your loop
>> Thyagi das
>>  but isn't listening to the loop add up to more 'conditioned' living?
>> instead of spontaneous here and nowness??
>> Matthias Grob
>>  the loop is like the motion lines in a comic
>>  http://www.mangatutorials.com/tut/motionlines.php
>> Thyagi das
>>  flow...
>> Matthias Grob
>>  yes, the loop adds direction to the here and nowness
>> Thyagi das
>>  so end of history. no one to die of this or that, to kill for this or
>> that, to struggle for this or that...just effortless
>>  Intelligent Existence, flowing, or rather, adding direction as it goes
>> along the core Stuff that Runs It all...somehow!
>>
>> possible practical looping conclusion:
>>
>> how about helping the listeners to concentrate on the live playing (if o=
n
>> the music, at all...)
>>  because most energy happens there,
>>  while the loop is as dead as a recording, just the history to indicate
>> the direction?
>> a point can be described by its coordinates and its velocity vector.
>> the history of movement suggests such a direction and thus a point in th=
e
>> future (conservation),
>>  but it can also change suddenly (revolution)... at least it should be
>> corrected a little (evolution)!
>> looping helps the player to maintain a direction, with less
>> surprises/shocks,
>>  and thus leaves the listener more confident and at ease (relaxing)
>>  but it brings a problem if it becomes static (boring)
>>
>> without looping
>>  we mainly have to learn to play steady and flowing
>> with looping
>>  we mainly have to learn to renovate and change
>>  (I observe that often a new layer does not change direction at all...)
>>  use feedback and multitrack to evolve, rather than just color the past
>>
>> there is nothing wrong with building a song just like painting a picture=
.
>> but we don't watch painters, we just look at the final painting (which
>> corresponds to the filled loop)
>> the personal benefit from "telling a story" may be bigger than from
>> "painting a situation"
>>   give it a try!
>>
>> interestingly the delay machines before 1992 mostly forced us to evolve,
>> because they were fading
>>  (some had a freeze   function but it often brought a hickup)
>> while the more recent loop gear like a RC20 hardly lets us evolve...
>>
>> in case you did not do so yet, play with a long delay (2...6sec) with
>> 60..95% feedback
>>  and get the feeling of motion lines that follow you!
>>
>
>

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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: merry hohoho!
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Happy Brumalia!
http://en.wikipedia.org/wiki/Brumalia

Happy Saturnalia!
http://penelope.uchicago.edu/~grout/encyclopaedia_romana/calendar/ 
saturnalia.html

Happy Yule!
http://en.wikipedia.org/wiki/Yule

Happy (post..by 2 days) Festivus!
http://www.religioustolerance.org/festivus.htm

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
Happy Brumalia!<div><a =
href=3D"http://en.wikipedia.org/wiki/Brumalia">http://en.wikipedia.org/wik=
i/Brumalia</a></div><div><br></div><div>Happy Saturnalia!</div><div><a =
href=3D"http://penelope.uchicago.edu/~grout/encyclopaedia_romana/calendar/=
saturnalia.html">http://penelope.uchicago.edu/~grout/encyclopaedia_romana/=
calendar/saturnalia.html</a></div><div><br></div><div>Happy =
Yule!</div><div><a =
href=3D"http://en.wikipedia.org/wiki/Yule">http://en.wikipedia.org/wiki/Yu=
le</a></div><div><br></div><div>Happy (post..by 2 days) =
Festivus!</div><div><a =
href=3D"http://www.religioustolerance.org/festivus.htm">http://www.religio=
ustolerance.org/festivus.htm</a></div><div><br></div><div>All the =
best,</div><div>Rev Fever</div><div><div><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><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div></span> </div><br></div></body></html>=

--Apple-Mail-1-671330689--

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 19:50:27 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: guitar drone music
Date: Thu, 25 Dec 2008 21:50:24 +0200
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hi,

i am recording a new guitar-drone record for a german label. i was =
wondering which contemporary artists i should listen to? any =
suggestions?

thanks a lot and best regards.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu

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<DIV>hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>i am recording a new guitar-drone record for a german label. i was=20
wondering which contemporary artists i should listen to? any =
suggestions?</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks a lot and best regards.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR></DIV></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 20:01:22 2008
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Jeez, Mech,  I had no idea that you had all this knowledge of radical fuzzes.

Your post was fantastic,  I just wish I could hear these pedals you talk about 
in person.

Of all the pedals you talk about (and assuming that one already owned 
two digital modelling pedals and a half dozen cheap stomp box, non-botique 
distorions (pro co rat, big muff, boss ds-1, et. al.) and a zvex fuzz factory, 
which one of these pedals would you buy for maximum weirdness if you were 
going to a desert island and had to buy only one (and how much does it cost)?


Also,  would you refresh our collective memory (okay,  my memory) and tell us 
1)  what country you live in (I assumed it was the US, incorrectly) and 
2)  what URL we can go to to hear some of the music you've made with all 
of these cool stuff.    

Thanks for your informative post,  as always!
--


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Date: Thu, 25 Dec 2008 15:14:43 -0500
From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Re: guitar drone music
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I don't know how drone--relevant either of them are, but Steffen 
Basho Junghans and James Blackshaw are worth a listen on the acoustic 
side.

For edgier stuff, (but not solo) you could check out Nels Cline.

For Jazzy Americana with noise and loops thrown in there is BIll Frissel.

Good luck with your disk, Erdem -- I've enjoyed both one you sent me 
and one I bought.

At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:
>hi,
>
>i am recording a new guitar-drone record for a german label. i was 
>wondering which contemporary artists i should listen to? any 
>suggestions?
>
>thanks a lot and best regards.
>
>Erdem Helvacioglu
><http://www.erdemhelvacioglu.com>www.erdemhelvacioglu.com
><http://www.myspace.com/erdemhelvacioglu>www.myspace.com/erdemhelvacioglu


-- 

		Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer	Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets."  -- Tom Lehrer

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There is one very fortunate aspect of a mailing list (vs. conversation): You can take your time to form what you want to say - and think it over before you press SEND.

I can highly recommend this. It has saved me a lot of trouble in the past (I wish I could say the same about verbal arguments where I "pressed send" too fast... ;-)

Peace 
Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 21:48:23 2008
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Date: Thu, 25 Dec 2008 13:48:22 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: Re: question for those using presonus firefox and mobius
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well i disactivated the bulit sound audio device no sound is coming out Jeff just wrote telling me that audio drivers are complicated to run on virtual machines like parallels so i guess i cnnot run mobius with my firebox in both O.S.
cheers
Luis

www.myspace.com/luisangulocom


--- On Tue, 12/23/08, Rainer Straschill <moinsound@googlemail.com> wrote:

> From: Rainer Straschill <moinsound@googlemail.com>
> Subject: question for those using presonus firefox and mobius
> To: loopers-delight@loopers-delight.com
> Date: Tuesday, December 23, 2008, 10:11 AM
> > i am having problems with mobius recognizing the
> firebox drivers on my macbook (PC side i just installed
> parallels)everything seems cool i can play audio etc.
> 
> You're sure you tested to play audio via ASIO drivers?
> I seem to
> remember that Mobius only uses those, so to properly check,
> make sure
> you use that other application which works also with ASIO
> drivers.


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 21:49:17 2008
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Subject: Re: OT: Korg Pandora PX-* recommendable?
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Yeah a Vox Headphone amp would be an alternative. But a used old Pandora PX-1 might be cheaper and have some more FX.

For your on the fly stuff, Matt, one of the Kaoss Pads is probably better. If I don't move to software, I might play with the idea of adding one for post-processing myself.

The real question for me is: does the new Pandora provide decent E-Bass preamp/amp simulation?

best regards
Buzap
-- 
Psssst! Schon vom neuen GMX MultiMessenger gehört? Der kann`s mit allen: http://www.gmx.net/de/go/multimessenger

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 22:02:04 2008
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From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: RE: distortion,overdrive,fuzz,crunch
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what about the tech 21 sans amp character series,i am suprised no comments on those yet?
http://www.tech21nyc.com/character_series.html

www.myspace.com/luisangulocom


--- On Tue, 12/23/08, o.malhomme@laposte.net <o.malhomme@laposte.net> wrote:

> From: o.malhomme@laposte.net <o.malhomme@laposte.net>
> Subject: RE: distortion,overdrive,fuzz,crunch
> To: Loopers-Delight@loopers-delight.com
> Date: Tuesday, December 23, 2008, 8:14 AM
> Regarding this secret weapons, one must keep in mind that a
> special recipe for the public can be a very unspecial to us.
> A example: the Ebow.
> Everyone seems to think I come from Mars if I use one while
> there's nothing special to it (I mean, I bet 99% of the
> guitar players of this list have one...).
> 
> Now, we have the tools that a remade to make anyone frown
> (VG-8, VG-99 in my case, but  designed for sound mangling
> and designing) and basic tools to add a special little
> something...
> 
> I like a old fuzz by Ibanez (emerald green one). Like the
> fact that the not seems like it swells...
> 
> I have a Robert Keeley modified DS-1 (also a SD-1 but I
> don't use it that much. Overdrive is a very different
> beast...)
> I have a TubeMan which is more interesting a crunch pedal
> than a n overdrive..
> I TOTALLY DEPEND on a multicomp EBS. I know it is
> supposedly made for bass but it inflates any guitar and
> sound gorgeous.
> 
> This is the very epitome of secret goo.
> I mean, It doesn't really change the sound, just it
> sounds way better with it. Transparent compression, not
> overdone...
> 
> Then I have a Morley Wah 2 that behaves weirdly. For some
> reasons, engaged it distort. It has a very wide wah effect,
> so i use it for filtering and filter sweep effets. I thought
> of repairing it  but I just like it's distortion,
> unusual.
> 
> Olivier


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 22:03:33 2008
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Date: Thu, 25 Dec 2008 17:00:39 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: guitar drone music
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On Loopers Delight, Erdem Helvacioglu wrote:
> i am recording a new guitar-drone record for a german label. i was 
> wondering which contemporary artists i should listen to? any suggestions?
> thanks a lot and best regards.
> Erdem Helvacioglu
> www.erdemhelvacioglu.com <http://www.erdemhelvacioglu.com>
> www.myspace.com/erdemhelvacioglu <http://www.myspace.com/erdemhelvacioglu>
You might want to check out:
http://fearfallsburning.be

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 22:15:48 2008
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Subject: Re: here and now / evolving loops
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Thanks for the post Fabio, 

More and more I am exploring the use of variable feedback to keep my loops
evolving.  My cc pedal assigned to feedback gets more use than my track
volume pedal,  as I'll use it to quickly remove a note or portion of the
sample (dubbing by removal) , I love deconstructing a loop this way, and it
seems to create smoother less stuttery results than when I use replace for
the same purpose. Also, as I probably have mentioned before you can create
dramatic tremolo effects by rocking the feedback pedal back and forth,
including tremolo effects you can't get with an actual tremolo pedal.
Expression pedals with the fastest response work best. I use Roland ev-5's,
they seem to work ok and I like the range knob as you can quickly change the
pedals response without recalibrating my midi foot controller.  I also use
the feedback pedal to fade tracks out gradually as I'm recording new
material to replace them to keep the loops from getting to static..   A
strategy I've been using in this way, has been to build up a group of tracks
and apply feedback to all of them anywhere from 40%-75% depending how
quickly I want things to fade. Naturally the loops of fewer bars will fade
away more quickly leaving the longer loops playing. I then start replacing
the shorter tracks with new material as the longer tracks continue to fade.
Even if I'm staying in one tonal center and replacing tracks with similar
content,  this use of feedback to morph tracks helps keep the loops from
getting too static and create more ebb and flow to the music..  I'll use
multiply when creating several tracks in such a way that I might have track
1 be 1bar in length, track 2 be 2 bars , track 3 be 4 bars, etc, , Using
this technique to end a tune,  my last track before bringing the music to a
conclusion, might be a solo or long melodic theme that might be several bars
in length.  Finally I will apply feedback to all the tracks which I will
vary starting at about 75% and gradually dropping to 0%. I love that all
that remains as the tracks are fading away, is the long melody at the end
that I can continue to play with and support as I soften the dynamics of my
playing, and the tune finally fades.  The analogy comes to mind of everyone
in the marching band continuing down the street and around the corner as the
lone clarinetist stays behind to serenade the crowd. 

It's a windy, partly cloudy, partly sunny, mostly rainy Christmas day so
far.

 A fine day for looping, if you ask me.

Bill

 


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<p class=3DMsoNormal style=3D'margin-left:.5in;text-indent:-.5in'><font =
size=3D2
face=3DArial><span style=3D'font-size:10.0pt;font-family:Arial'>Thanks =
for the post
Fabio, <o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'margin-left:-7.5pt'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>More and more I am =
exploring the use
of variable feedback to keep my loops evolving. &nbsp;My cc pedal =
assigned to
feedback gets more use than my track volume pedal, &nbsp;as I&#8217;ll =
use it
to quickly remove a note or portion of the sample (dubbing by removal) , =
I love
deconstructing a loop this way, and it seems to create smoother less =
stuttery
results than when I use replace for the same purpose. Also, as I =
probably have
mentioned before you can create dramatic tremolo effects by rocking the =
feedback
pedal back and forth, including tremolo effects you can&#8217;t get with =
an
actual tremolo pedal. Expression pedals with the fastest response work =
best. I
use Roland ev-5&#8217;s, they seem to work ok and I like the range knob =
as you
can quickly change the pedals response without recalibrating my midi =
foot
controller. &nbsp;I also use the feedback pedal to fade tracks out =
gradually as
I&#8217;m recording new material to replace them to keep the loops from =
getting
to static.. &nbsp;&nbsp;A strategy I&#8217;ve been using in this way, =
has been
to build up a group of tracks and apply feedback to all of them anywhere =
from
40%-75% depending how quickly I want things to fade. Naturally the loops =
of
fewer bars will fade away more quickly leaving the longer loops playing. =
I then
start replacing the shorter tracks with new material as the longer =
tracks
continue to fade. &nbsp;&nbsp;Even if I&#8217;m staying in one tonal =
center and
replacing tracks with similar content, &nbsp;this use of feedback to =
morph
tracks helps keep the loops from getting too static and create more ebb =
and
flow to the music.. &nbsp;I&#8217;ll use multiply when creating several =
tracks
in such a way that I might have track 1 be 1bar in length, track 2 be 2 =
bars ,
track 3 be 4 bars, etc, , Using this technique to end a tune, &nbsp;my =
last
track before bringing the music to a conclusion, might be a solo or long
melodic theme that might be several bars in length. &nbsp;Finally I will =
apply
feedback to all the tracks which I will vary starting at about 75% and
gradually dropping to 0%. I love that all that remains as the tracks are =
fading
away, is the long melody at the end that I can continue to play with and
support as I soften the dynamics of my playing, and the tune finally =
fades.&nbsp;
The analogy comes to mind of everyone in the marching band continuing =
down the
street and around the corner as the lone clarinetist stays behind to =
serenade
the crowd. <o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'margin-left:-7.5pt'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>It&#8217;s a windy, partly =
cloudy,
partly sunny, mostly rainy Christmas day so =
far.<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'margin-left:-7.5pt'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>&nbsp;A fine day for =
looping, if you
ask me.<o:p></o:p></span></font></p>

<p class=3DMsoNormal style=3D'margin-left:-7.5pt'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Bill<o:p></o:p></span></font=
></p>

<p class=3DMsoNormal style=3D'margin-left:-7.5pt'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'><o:p>&nbsp;</o:p></span></fo=
nt></p>

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From: Marc Marshall <agentlesoul2004@yahoo.com>
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Subject: Re: guitar drone music
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My vote for contemporary guitar drone band=A0is the great=A0 Dalek from New=
 Jersey USA. If the sound of a band with equal parts My Bloody Valentine an=
d Sonic Youth guitar/keyboard noise drone, married to modern hip hop beats =
delivered with a rap that eschews bling and booty and replaces it with hard=
 hitting leftist politics sounds intriguing=A0 you MUST check them out!

http://www.youtube.com/watch?v=3Di789TMw49rE

peace
=A0
Marc
=A0
=A0&nbsp;=A0=20

--- On Thu, 12/25/08, Emile Tobenfeld (a.k.a Dr. T) <emile@foryourhead.com>=
 wrote:

x; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Emile Tobenfeld (a.k.a Dr. =
T) <emile@foryourhead.com>
Subject: Re: guitar drone music
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 25, 2008, 3:14 PM

I don't know how drone--relevant either of them are, but Steffen=20
Basho Junghans and James Blackshaw are worth a listen on the acoustic=20
side.

For edgier stuff, (but not solo) you could check out Nels Cline.

For Jazzy Americana with noise and loops thrown in there is BIll Frissel.

Good luck with your disk, Erdem -- I've enjoyed both one you sent me=20
and one I bought.

At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:
>hi,
>
>i am recording a new guitar-drone record for a german label. i was=20
>wondering which contemporary artists i should listen to? any=20
>suggestions?
>
>thanks a lot and best regards.
>
>Erdem Helvacioglu
><http://www.erdemhelvacioglu.com>www.erdemhelvacioglu.com
><http://www.myspace.com/erdemhelvacioglu>www.myspace.com/erdemhelvacioglu


--=20

=09=09Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer=09Image Processing Specialist
Video for your HEAD!=09=09=09Boris FX
http://www.foryourhead.com=09=09http://www.borisfx.com

My photography can be viewed at=20
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets."  -- Tom Lehrer

=0A=0A=0A      
--0-68114140-1230246675=:17053
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>My vote for contemporary guitar drone band&nbsp;is the great&nbsp; <SPAN>Dalek</SPAN> from New Jersey USA. If the sound of a band with equal parts My Bloody Valentine and Sonic Youth guitar/keyboard noise drone, married to modern hip hop beats delivered with a rap that eschews bling and booty and replaces it with hard hitting leftist politics sounds intriguing&nbsp; you MUST check them out!</DIV>
<DIV><BR><A href="http://www.youtube.com/watch?v=i789TMw49rE">http://www.youtube.com/watch?v=i789TMw49rE</A></DIV><FONT face="comic sans ms" color=#4040ff><EM>
<DIV><BR>peace</DIV>
<DIV>&nbsp;</DIV>
<DIV>Marc<BR></EM></FONT>&nbsp;</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&amp;nbs<SPAN>p;&nbsp; </SPAN></DIV><BR><BR>--- On <B>Thu, 12/25/08, Emile Tobenfeld (a.k.a Dr. T) <I>&lt;emile@foryourhead.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px" misspelled?>x; BORDER</SPAN>-LEFT: rgb(16,16,255) 2px solid"&gt;From: Emile Tobenfeld (a.k.a Dr. T) &lt;emile@foryourhead.com&gt;<BR>Subject: Re: guitar drone music<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 25, 2008, 3:14 PM<BR><BR><PRE>I don't know how dr<SPAN>one--rel</SPAN>evant either of them are, but Steffen 
Basho Junghans and James Blackshaw are worth a listen on the acoustic 
side.

For edgier stuff, (but not solo) you could check out Nels Cline.

For Jazzy Americana with noise and loops thrown in there is BIll Frissel.

Good luck with your disk, Erdem -- I've enjoyed both one you sent me 
and one I bought.

At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:
&gt;hi,
&gt;
&gt;i am recording a new guitar-drone record for a german label. i was 
&gt;wondering which contemporary artists i should listen to? any 
&gt;suggestions?
&gt;
&gt;thanks a lot and best regards.
&gt;
&gt;Erdem Helvacioglu
&gt;&lt;http://www.erdemhelvacioglu.com&gt;www.erdemhelvacioglu.com
&gt;&lt;http://www.myspace.com/erdemhelvacioglu&gt;www.myspace.com/erdemhelvacioglu


-- 

		Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer	Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets."  -- Tom Lehrer

</PRE></BLOCKQUOTE></td></tr></table><br>



      
--0-68114140-1230246675=:17053--

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 23:22:33 2008
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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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with this conversation it occurs to me ive been playing acoustic only, i dont know what happened...though once a week i pickup my electric, plug it in distort the shit out of it and play a mean chord.Then i turn off my amp hang the guitar on the wall and go to sleep.It must be cold turkey...

www.myspace.com/luisangulocom


--- On Fri, 12/19/08, Krispen Hartung <info@krispenhartung.com> wrote:

> From: Krispen Hartung <info@krispenhartung.com>
> Subject: Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo
> To: Loopers-Delight@loopers-delight.com
> Date: Friday, December 19, 2008, 1:00 PM
> Great post,Bill.  
> 
> I can't say for certain, but the tilting point for me
> choosing to use and play with less distortion, was after I
> got into more genres (jazz, country, bluegrass, worldbeat,
> etc) that used more clean tones, and it occurred to me that
> distortion or high gain can easily be used as a articulation
> crutch. It did not take me long to realize that, given any
> prior, rippin' solo I had done using high gain and
> distortion, during my fusion/hard rock/progressive rock
> days, if I had tried to articulate the same or similar solo
> using a clean tone, it sounded like crap, sloppy, etc. I
> realized how much I was relying gain to play fast and still
> sound good.  And I have tested this with
> guitarists...someone will play a really fast and impressive
> solo, and then I ask them to turn to the clean channel, and
> the result is, most of the time, not good.  With high gain,
> you have this amazing compression and sensitivity of the
> strings that allows you to play very fast and
> fluid...mistakes in articulation are sort of
> "smoothed" over so that they aren't apparent. 
> In fact, I recall not even having to use a pick. With that
> much gain, you can basically finger the runs, using hammer
> ons and pull offs, and it still doesn't sound have bad. 
> 
> 
> Now, I am only speaking for myself here and not saying that
> anyone who uses a lot of gain is using it as a crutch. That
> would be an unfair assumption.  I am not trying to start a
> flame war here to slam those guitarists who like to use a
> lot o again. But I am stating what I think is a fact about
> what high gain allows you to do on the guitar because of the
> compression, overtones, sensitivity, etc, vs. if you were
> playing clean. And for me, it started to feel like cheating
> and forced me to start practicing the guitar clean, to see
> what I was really capable of in terms of my articulation and
> control of the instrument. The guitarists that really gain
> (no pun intended) my respect are those who can go back and
> forth and still main their articulation - Nels, for
> instance, but also many others, like Metheny, Fripp,
> Mclaughlin, Beck, and many others.   That is why I promote
> students to start with the acoustic guitar and gain a level
> of mastery on it before moving to the electric and a lot of
> distortion.  In fact, my father never let me buy an electric
> guitar and amp, until I had taken a few years of classical
> guitar lessons and proved that I could play a handful of
> songs with just the acoustic guitar, with no aid of
> technology. I suspect that has molded my outlook on this a
> bit.  It was as if I heard to earn the right to play an
> electric guitar and take advantage of all that technology,
> effects, etc.  
> 
> Kris
> 
> 
>   ----- Original Message ----- 
> 
>   "The massive distortion gets on my nerves after a
> while"
> 
>   I agree Krispen, I find that the distortion tone is often
> times the make or break point  for me, of whether an artist
> really  speaks to me, or not. Using distortion for many
> guitarists represents their lead voice, and in a way
> it's analogues to what a sax player develops,  when
> choosing an instrument, thickness of reeds, and embouchure. 
> Nels Kline has a great sense of effects application, and at
> the same time his heavy distortion sounds  can get pretty
> abrasive to my ears. Which I'm sure is the point. As
> they say one man's pudding is another man's poison.
> Give me a Scott Henderson, David Gilmour, Carlos Santana or
> Jeff  Beck any day of the week as their tones are always
> stellar. I think the danger with heavy distortion is that it
> can obscure a players personality and rob them of  dynamic
> range, not to mention making for a muddy sometimes
> indistinct tone.  I also realize that when you are trying to
> create sonic mayhem, distortion and fuzz can be your best
> friends. 
> 
>   [snip]
> 
> 
> 
>   Bill
> 
>    
> 
> 
> ------------------------------------------------------------------------------
> 
>   From: Krispen Hartung [mailto:info@krispenhartung.com] 
>   Sent: Thursday, December 18, 2008 4:37 PM
>   To: Loopers-Delight@loopers-delight.com
>   Subject: Re: One Guitarist, One Drummer was: Altered
> Tunings
> 
>    
> 
>   Heh heh...yes. Sorry. John Morris is someone I work with.
> That was a habit based typo. :)  I meant Joe.  Damn, good
> catch!  No one else got that?
> 
>    
> 
>   Kris


      

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 23:34:10 2008
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From: Rick Walker <looppool@cruzio.com>
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from a scholar I know:

"Don't forget the root of Christmas too!  December 25 is actually 
the birthday of the Persian Sun God, Mithras, not Jesus. Constantine, 
basically fabricated Christmas as part of his political strategy 
to unite the Roman Republic, because it was comprised of so many mystery 
cults, Roman gods, diverse beliefs, etc, and he needed to bring the 
people together under a common state religion.  Since Constantine 
worshiped  the Sun God (Sol Invictus or Mithras), he basically swapped 
birthdays, giving that birthday to Jesus, and also making the Solar 
calendar week start on Sunday (Sun = Sun God = Sol Invictus, Mithras, 
etc).  People go to church today on Sunday, because of Constantine, 
though the original Christians likely worshiped on Saturday. But back to 
Christmas, people lit candles in worship of the Sun God, brought in 
trees as a part of Mithras workshop, and gave gifts as part of the 
festival in honor of the agriculture god, Saturn.  Even the story of 
Jesus, the resurrection, the  whole bit, is all a clone of the story of 
Mithras, which precedes  Christianity by over 600 years....and it goes 
deeper into  Zoroasterism, with an almost duplicate story of a man who 
was born a  god-child, was sought to be destroyed by dark forces, birth 
was  marked by miracles, was religiously active in his 20/30's, 
professed  a belief of resurrection, judgment day, heaven and hell, 
etc....all  600-1000 years (and debatably longer) before the dawn of 
Christianity. Mithraism, the official religion of the Roman empire in 
274 CE was actually the main rival of Christianity during this time 
(4th century AD), because they were identical in many respects.  
Christianity won out because of Constantine's political campaign to unit 
the republic under one monotheistic state religion.  So, Christmas is 
basically a past-together holiday of Saturn and Mithras celebrations, 
along with the Sol Invictus mystery cult"


I had also heard that the Solstice celebration amongst many of the 
Northern shamanic tribes involved the ritual burning
of the largest felled tree in the forest (the Yule Log) and that the 
Solstice celebration was the biggest party of
the year.       I had heard (and I don't know if this is verifiable)   
that Constantine moved the official celebration of
Jesus of Nazareth's birth to the 25th in order to allow for these 
celebrations to continue but in a Christian way
without upsetting all of his subjects.    

Fascinating stuff.    I think that the cooption of myth and ritual 
happens continually with
conquering and conquered peoples.

This is highly evidenced in the African rituals that were coopted by the 
slave owners in the Caribbean and North and
South America.............

..................all a part of our sometimes violent heritage as human 
beings.................let's just hope that
some alien race doesn't come along (ala 'Day the Earth Stood Still') and 
take us to task for
our heritage.

Peace to all of you, whatever you believe.

Rick

From Loopers-Delight-request@loopers-delight.com  Thu Dec 25 23:57:30 2008
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good research there Rick.
as a SUNN (amplifiers/cabinets) Worshipper i look for all things relating to sun sunn sunking etc. here is a good graphic of the Christianity/Sun God connection(and a good song to boot)
http://www.youtube.com/watch?v=0eaWtNhdihk&feature=channel_page
s

from a scholar I know:
>"Don't forget the root of Christmas too!  December 25 is actually 
>the birthday of the Persian Sun God, Mithras, not Jesus. Constantine, 
>basically fabricated Christmas as part of his political strategy 
>to unite the Roman Republic, because it was comprised of so many mystery 
>cults, Roman gods, diverse beliefs, etc, and he needed to bring the 
>people together under a common state religion.  Since Constantine 
>worshiped  the Sun God (Sol Invictus or Mithras), he basically swapped 
>birthdays, giving that birthday to Jesus, and also making the Solar 
>calendar week start on Sunday (Sun = Sun God = Sol Invictus, Mithras, 
>etc).  People go to church today on Sunday, because of Constantine, 
>though the original Christians likely worshiped on Saturday. But back to 
>Christmas, people lit candles in worship of the Sun God, brought in 
>trees as a part of Mithras workshop, and gave gifts as part of the 
>festival in honor of the agriculture god, Saturn.  Even the story of 
>Jesus, the resurrection, the  whole bit, is all a clone of the story of 
>Mithras, which precedes  Christianity by over 600 years....and it goes 
>deeper into  Zoroasterism, with an almost duplicate story of a man who 
>was born a  god-child, was sought to be destroyed by dark forces, birth 
>was  marked by miracles, was religiously active in his 20/30's, 
>professed  a belief of resurrection, judgment day, heaven and hell, 
>etc....all  600-1000 years (and debatably longer) before the dawn of 
>Christianity. Mithraism, the official religion of the Roman empire in 
>274 CE was actually the main rival of Christianity during this time 
>(4th century AD), because they were identical in many respects.  
>Christianity won out because of Constantine's political campaign to unit 
>the republic under one monotheistic state religion.  So, Christmas is 
>basically a past-together holiday of Saturn and Mithras celebrations, 
>along with the Sol Invictus mystery cult"
>
>
>I had also heard that the Solstice celebration amongst many of the 
>Northern shamanic tribes involved the ritual burning
>of the largest felled tree in the forest (the Yule Log) and that the 
>Solstice celebration was the biggest party of
>the year.       I had heard (and I don't know if this is verifiable)   
>that Constantine moved the official celebration of
>Jesus of Nazareth's birth to the 25th in order to allow for these 
>celebrations to continue but in a Christian way
>without upsetting all of his subjects.    
>
>Fascinating stuff.    I think that the cooption of myth and ritual 
>happens continually with
>conquering and conquered peoples.
>
>This is highly evidenced in the African rituals that were coopted by the 
>slave owners in the Caribbean and North and
>South America.............
>
>..................all a part of our sometimes violent heritage as human 
>beings.................let's just hope that
>some alien race doesn't come along (ala 'Day the Earth Stood Still') and 
>take us to task for
>our heritage.
>
>Peace to all of you, whatever you believe.
>
>Rick
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 00:08:55 2008
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Date: Thu, 25 Dec 2008 16:08:53 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
Reply-To: Loopers-Delight@loopers-delight.com
Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo
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I think the last band that excited me as far as overdrive distortion was Rage against the machine...the most exciting overdrive i still find are from cats that got them through early amps, any early kinks stuff,but also the sound of the early fuzzboxes,anything from the nugget compilation like psychotic reaction from the count 5,had too much to dream from the electric prunes,the strandels dirty water,interstellar overdrive from the floyd or summertime blues by blue cheer.Early tones from blues cats like howlin wolf,john lee hooker or muddy waters sound heavy as well... or take for instance Led zeppelins when the leeve breaks,or kashmir,heavy shit,yet is barely distorted,so for me is not the distortion or overdrive but the riffs and modes that make it sound heavy.Some early acoustic blues stuff like john lee hookers sounds heavier than a lot of heavy metal although is only his guitar and foot stomp!!

www.myspace.com/luisangulocom


--- On Fri, 12/19/08, William Walker <billwalker@baymoon.com> wrote:

> From: William Walker <billwalker@baymoon.com>
> Subject: RE: distortion, overdrive,fuzz,crunch,special sauce, secret goo
> To: "'Krispen Hartung'" <info@krispenhartung.com>, Loopers-Delight@loopers-delight.com
> Date: Friday, December 19, 2008, 8:51 AM
> "The massive distortion gets on my nerves after a
> while"
> 
> I agree Krispen, I find that the distortion tone is often
> times the make or
> break point  for me, of whether an artist really  speaks to
> me, or not.
> Using distortion for many guitarists represents their lead
> voice, and in a
> way it's analogues to what a sax player develops,  when
> choosing an
> instrument, thickness of reeds, and embouchure.  Nels Kline
> has a great
> sense of effects application, and at the same time his
> heavy distortion
> sounds  can get pretty abrasive to my ears. Which I'm
> sure is the point. As
> they say one man's pudding is another man's poison.
> Give me a Scott
> Henderson, David Gilmour, Carlos Santana or Jeff  Beck any
> day of the week
> as their tones are always stellar. I think the danger with
> heavy distortion
> is that it can obscure a players personality and rob them
> of  dynamic range,
> not to mention making for a muddy sometimes indistinct
> tone.  I also realize
> that when you are trying to create sonic mayhem, distortion
> and fuzz can be
> your best friends. 
> 
>  I love overdrive as to me its more controllable and
> sweeter sounding, than
> fuzz or distortion, and  my aesthetic leans more towards
> that smoother, soft
> clipping sound.  I have been using some octave fuzz as of
> late,  though  I
> find I have to turn the treble down to get a smooth enough
> sound for my
> ears. For a while my main overdrive has been a Duncan twin
> tube which is
> very versatile, but recently I went looking for something
> in a smaller
> package I could run on batteries if needed. I've always
> been a fan of Dumble
> amps,  and the smooth creamy sound they are famous for. I
> also know that the
> Dumble design is based on black face era fender amps with a
> twist.  Dumble
> amps have a first gain stage that is essentially a solid
> state fet preamp, (
> in other words, he had the bright idea to install what
> amounts to a tube
> screamer like overdrive inside his amps.)  This circuitry
> is what gives
> dumble amps their creamy smooth overdrive sound. Recently a
> pedal called a
> Zen Drive crossed my radar, and on the recommendation of a
> work mate who
> owns one, I ordered one direct from Hermida Audio in
> Florida. All the buzz
> about these pedals is that they are as close to a Dumble
> overdrive   as you
> can find without spending $20, 0000 and up for a used
> Dumble amp. The
> designer even has a big glob of black silicone glue
> covering up the circuit
> to hide the mojo,   much like Dumble did with his amps.
> I'm happy to say
> that this is a fantastic pedal,  with great range and
> dynamics, somewhat
> like a vintage tube screamer without the annoying mid range
> hump, and a
> wider range of overdrive tones. Originally I had planned to
> buy one used on
> E-bay because traditionally, demand has outstripped
> production of these
> pedals and there was usually a waiting list of several
> months. The problem
> was that all of the e-bay sellers were jacking up the price
> $50-100 dollars
> to try and take advantage of this situation. I simply
> e-mailed the builder
> and he told me they were available and ready to ship. It
> cost me $188
> delivered to my door. If I could have found  it locally I
> would have bought
> it, but as far as I know Hermida audio has no dealer
> network. I can't say
> enough good things about this pedal, it sounds unreal, and
> it even looks
> cool to.  The rumor is Alfonso Hermida designed this box
> for Robben Ford so
> that he could get his sound, when having to use rented
> Fender amps and
> didn't have the luxury of bringing his prized dumble.
> Whether or not this is
> true, I think he really nailed the sound, and I am loving
> this pedal big
> time. This pedal rocks, and considering what a re-issue
> TS-808 costs, it's a
> bargain.
> 
> Bill
> 
>  
> 
>   _____  
> 
> From: Krispen Hartung [mailto:info@krispenhartung.com] 
> Sent: Thursday, December 18, 2008 4:37 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: One Guitarist, One Drummer was: Altered
> Tunings
> 
>  
> 
> Heh heh...yes. Sorry. John Morris is someone I work with.
> That was a habit
> based typo. :)  I meant Joe.  Damn, good catch!  No one
> else got that?
> 
>  
> 
> Kris
> 
> ----- Original Message ----- 
> 
> 
>  
> 
> 
>  
> 
> Not that I know every guitarist out there, but do you mean
> Joe Morris
> instead of John Morris, Kris?
> 
>  
> 
> Joe Morris certainly kicks ass - double threat as guitarist
> and bassist.
> 
> 
>  
> 
> It is very good, but doesn't do what Interstellar Space
> does for me.  And
> clearly (with no disrespect to Nels, but more of a comment
> about the sheer
> genius of Coltane), Nels' articulation on the guitar
> does not match
> Coltrane's articulation and mastery of the sax.  Again,
> I don't think
> anyone would deny that without underestimating Coltrane.
> 
> I don't know much about Nels Cline, and have not
> listened to all of his
> material. All of it is very good from what I have heard. I
> like the tracks
> on
> the CD where he is playing clean, more than those where he
> has the shreader
> guitar tone.  The massive distortion gets on my nerves
> after a while.
> 
> I would like to hear John Morris (guitar) and Billy Kilson
> (drum) doing
> their
> take of Interstellar Space.  I saw Billy Kilson with Dave
> Holland a few
> years
> ago, and was blown away. I have never seen a jazz drummer
> play with such
> energy
> and speed.  And of course, Morris that raw jazz tone that
> do well with a
> homage
> to Interstellar Space.
> 
> Kris
> 
> ----- Original Message ----- 
> > I think it fully earns the title. I find it pretty
> incredible. I'd be
> curious to hear your reaction.
> > 
> > Gorgeous version of "Lonnie's Lament" on
> it, too, after all
> the chaos.
> > 
> > Daryl Shawn
> > www.swanwelder.com
> > www.chinapaintingmusic.com
> > 
> >> I was not aware of this CD with Nels. I will have
> to check it out. The
> question is, does it earn the title of Interstellar Space
> Revisited? That
> album
> of Coltrane's is insurpassable, allowing only remote
> approximations to its
> level.
> >> 
> >> Kris
> >> 
> >> 
> >>> Nels Cline and Gregg Bendian's
> "Interstellar Space
> Revisited" is a superb reworking of Coltrane and
> Ali's masterpiece.
> > 
> >


      

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 00:41:34 2008
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From: Rev Fever <revfever@ubergadget.com>
Subject: OT: Good bye Eartha
Date: Thu, 25 Dec 2008 16:40:53 -0800
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--Apple-Mail-2-689266887
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This is truly sad news. Another brilliant Light has gone out in the  
world. First Harold Pinter (another brilliant Light), and now Eartha  
Kitt, and on the SAME day!
But, she had one of the more truly amazing lives and was an  
incredible human being. A very hard act to try to follow.

Lucky for me I got see her live about 13 years ago in Seattle, and I  
was REAL near the stage ( I planned it that way. :-))
and when she locked eyes with me, I was FROZEN in a wonderful awe!   
She definitely had ya in HER power for as long as she looked at ya!
It was GREAT and a truly wonderful experience that I'll NEVER forget!

For those who previously may have not known about her, and her very  
long career, and amazing personality, and life, then read the article.
It captures at least some of who she was, but her full story goes a  
LOT further. She will be missed by many, including myself.

Singer-actress Eartha Kitt dies at 81
http://www.msnbc.msn.com/id/28386832/

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/


--Apple-Mail-2-689266887
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
<div>This is truly sad news. Another brilliant Light has gone out in the =
world. First Harold Pinter (another brilliant Light), and now Eartha =
Kitt, and on the SAME day!</div><div>But, she had one of the more truly =
amazing lives and was an incredible human being. A very hard act to try =
to follow.</div><div><br></div><div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Lucky for me =
I got see her live about 13 years ago in Seattle, and I was REAL near =
the stage ( I planned it that way. :-))=A0</div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">and when =
she locked eyes with me,=A0I was FROZEN in a wonderful awe!=A0 She =
definitely had ya in HER power for as long as she looked at ya! =
=A0=A0</div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">It was GREAT and a truly =
wonderful experience that=A0I'll NEVER forget! =A0</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; "><br></div><div style=3D"margin-top: 0px; =
margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">For those who =
previously may have not known about her, and her very long career,=A0and =
amazing personality, and life, then read the article.=A0</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">It captures at least some of who she was, but her =
full story goes a LOT further. She will be missed by many, including =
myself.</div><div><br></div></div><div>Singer-actress Eartha Kitt dies =
at 81</div><div><a =
href=3D"http://www.msnbc.msn.com/id/28386832/">http://www.msnbc.msn.com/id=
/28386832/</a></div><br><div> <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>All the best,</div><div>Rev =
Fever</div><div><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div></span> </div><br></body></html>=

--Apple-Mail-2-689266887--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 00:50:09 2008
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References: <30363531.1230249449418.JavaMail.root@mswamui-andean.atl.sa.earthlink.net>
Subject: Re: OT   The Roots of Christmas
Date: Thu, 25 Dec 2008 17:50:05 -0700
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Good one, Stan. Check out this church:

http://img.dailymail.co.uk/i/pix/2007/08_01/germanbeachR0608_800x493.jpg

Go Amen Re!

Kris

----- Original Message ----- 


> good research there Rick.
> as a SUNN (amplifiers/cabinets) Worshipper i look for all things relating 
> to sun sunn sunking etc. here is a good graphic of the Christianity/Sun 
> God connection(and a good song to boot)
> http://www.youtube.com/watch?v=0eaWtNhdihk&feature=channel_page
> s
>
> from a scholar I know:
>>"Don't forget the root of Christmas too!  December 25 is actually
>>the birthday of the Persian Sun God, Mithras, not Jesus. Constantine,
>>basically fabricated Christmas as part of his political strategy
>>to unite the Roman Republic, because it was comprised of so many mystery
>>cults, Roman gods, diverse beliefs, etc, and he needed to bring the
>>people together under a common state religion.  Since Constantine
>>worshiped  the Sun God (Sol Invictus or Mithras), he basically swapped
>>birthdays, giving that birthday to Jesus, and also making the Solar
>>calendar week start on Sunday (Sun = Sun God = Sol Invictus, Mithras,
>>etc).  People go to church today on Sunday, because of Constantine,
>>though the original Christians likely worshiped on Saturday. But back to
>>Christmas, people lit candles in worship of the Sun God, brought in
>>trees as a part of Mithras workshop, and gave gifts as part of the
>>festival in honor of the agriculture god, Saturn.  Even the story of
>>Jesus, the resurrection, the  whole bit, is all a clone of the story of
>>Mithras, which precedes  Christianity by over 600 years....and it goes
>>deeper into  Zoroasterism, with an almost duplicate story of a man who
>>was born a  god-child, was sought to be destroyed by dark forces, birth
>>was  marked by miracles, was religiously active in his 20/30's,
>>professed  a belief of resurrection, judgment day, heaven and hell,
>>etc....all  600-1000 years (and debatably longer) before the dawn of
>>Christianity. Mithraism, the official religion of the Roman empire in
>>274 CE was actually the main rival of Christianity during this time
>>(4th century AD), because they were identical in many respects.
>>Christianity won out because of Constantine's political campaign to unit
>>the republic under one monotheistic state religion.  So, Christmas is
>>basically a past-together holiday of Saturn and Mithras celebrations,
>>along with the Sol Invictus mystery cult"
>>
>>
>>I had also heard that the Solstice celebration amongst many of the
>>Northern shamanic tribes involved the ritual burning
>>of the largest felled tree in the forest (the Yule Log) and that the
>>Solstice celebration was the biggest party of
>>the year.       I had heard (and I don't know if this is verifiable)
>>that Constantine moved the official celebration of
>>Jesus of Nazareth's birth to the 25th in order to allow for these
>>celebrations to continue but in a Christian way
>>without upsetting all of his subjects.
>>
>>Fascinating stuff.    I think that the cooption of myth and ritual
>>happens continually with
>>conquering and conquered peoples.
>>
>>This is highly evidenced in the African rituals that were coopted by the
>>slave owners in the Caribbean and North and
>>South America.............
>>
>>..................all a part of our sometimes violent heritage as human
>>beings.................let's just hope that
>>some alien race doesn't come along (ala 'Day the Earth Stood Still') and
>>take us to task for
>>our heritage.
>>
>>Peace to all of you, whatever you believe.
>>
>>Rick
>>
>
> 

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Subject: Re: OT: Good bye Eartha
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In a message dated 12/25/08 7:41:43 PM, revfever@ubergadget.com writes:


> when she locked eyes with me,=A0I was FROZEN in a wonderful awe!=A0
>=20

sad sad news!.....:(m



"EVERYTHING YOU KNOW IS WRONG".....firesign theater

new groovy tunes at:
http://www.myspace.com/klobuchar10
www.ct-collective.com





**************
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In a message dated 12/25/08 7:41:43 PM, revfever@ubergadget.com writes:<BR>
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Subject: Re: guitar drone music
Date: Thu, 25 Dec 2008 16:55:41 -0800
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for me it's always better to listen to the folks artists (like  
Junghans and Blackshaw etc) are deriving their sound from.  So I would  
check out John Fahey - the originator of this style..... or Sandy Bull  
if you can find his records anywhere.... or maybe Robbie Basho  
although he didn't seem to have the grace of playing that John did.

Fahey has some great records from his early years like Dance of Death,  
Death Chants, Breakdowns and Military Waltzes.  It's simple, clean,  
well played.  And, for what I can find, John was the FIRST modern  
(starting in 58) acoustic guitarist to use a Weissenborn... and  
alternate tunings.  Unforntuately John was haunted by various demons  
and had a reputation for berating his audience and intentionally  
getting so drunk onstage that his music was... well... really bad.   
But early in his career he was a real pioneer / original thinker.

You could always set up a drone with a looper - like a tambura  
(tanpura) figure and play over it as in the music of India.  Put lots  
of echo on it and... voila!  Or find a real tambura and tabla player  
and go to town.

And hey!  You're from Turkey!  Good grief.  There must be boatloads of  
great oud players there who can help.  And frame drum etc.

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com


On Dec 25, 2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:

> I don't know how drone--relevant either of them are, but Steffen  
> Basho Junghans and James Blackshaw are worth a listen on the  
> acoustic side.
>
> For edgier stuff, (but not solo) you could check out Nels Cline.
>
> For Jazzy Americana with noise and loops thrown in there is BIll  
> Frissel.
>
> Good luck with your disk, Erdem -- I've enjoyed both one you sent me  
> and one I bought.
>
> At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:
>> hi,
>>
>> i am recording a new guitar-drone record for a german label. i was  
>> wondering which contemporary artists i should listen to? any  
>> suggestions?
>>
>> thanks a lot and best regards.
>>
>> Erdem Helvacioglu
>> <http://www.erdemhelvacioglu.com>www.erdemhelvacioglu.com
>> <http://www.myspace.com/erdemhelvacioglu>www.myspace.com/erdemhelvacioglu
>
>
> -- 
>
> 		Emile Tobenfeld, Ph. D.
> Video Producer and Digital Photographer	Image Processing Specialist
> Video for your HEAD!			Boris FX
> http://www.foryourhead.com		http://www.borisfx.com
>
> My photography can be viewed at http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/
>
> My videos can be viewed at
> http://www.youtube.com/Tobenfeld
>
> "Don't make book, if you cannot cover bets."  -- Tom Lehrer
>

RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com






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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">for me it's always better to =
listen to the folks artists (like Junghans and Blackshaw etc) are =
deriving their sound from. &nbsp;So I would check out John Fahey - the =
originator of this style..... or Sandy Bull if you can find his records =
anywhere.... or maybe Robbie Basho although he didn't seem to have the =
grace of playing that John did.<div><br></div><div>Fahey has some great =
records from his early years like Dance of Death, Death Chants, =
Breakdowns and Military Waltzes. &nbsp;It's simple, clean, well played. =
&nbsp;And, for what I can find, John was the FIRST modern (starting in =
58) acoustic guitarist to use a Weissenborn... and alternate tunings. =
&nbsp;Unforntuately John was haunted by various demons and had a =
reputation for berating his audience and intentionally getting so drunk =
onstage that his music was... well... really bad. &nbsp;But early in his =
career he was a real pioneer / original thinker. =
&nbsp;</div><div><br></div><div>You could always set up a drone with a =
looper - like a tambura (tanpura) figure and play over it as in the =
music of India. &nbsp;Put lots of echo on it and... voila! &nbsp;Or find =
a real tambura and tabla player and go to town. =
&nbsp;</div><div><br></div><div>And hey! &nbsp;You're from Turkey! =
&nbsp;Good grief. &nbsp;There must be boatloads of great oud players =
there who can help. &nbsp;And frame drum =
etc.</div><div><br></div><div><span class=3D"Apple-style-span" =
style=3D"font-size: 12px; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div></span><div><br><div><div>On Dec 25, =
2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>I =
don't know how drone--relevant either of them are, but Steffen Basho =
Junghans and James Blackshaw are worth a listen on the acoustic =
side.<br><br>For edgier stuff, (but not solo) you could check out Nels =
Cline.<br><br>For Jazzy Americana with noise and loops thrown in there =
is BIll Frissel.<br><br>Good luck with your disk, Erdem -- I've enjoyed =
both one you sent me and one I bought.<br><br>At 9:50 PM +0200 12/25/08, =
Erdem Helvacioglu wrote:<br><blockquote =
type=3D"cite">hi,<br></blockquote><blockquote =
type=3D"cite"><br></blockquote><blockquote type=3D"cite">i am recording =
a new guitar-drone record for a german label. i was wondering which =
contemporary artists i should listen to? any =
suggestions?<br></blockquote><blockquote =
type=3D"cite"><br></blockquote><blockquote type=3D"cite">thanks a lot =
and best regards.<br></blockquote><blockquote =
type=3D"cite"><br></blockquote><blockquote type=3D"cite">Erdem =
Helvacioglu<br></blockquote><blockquote type=3D"cite">&lt;<a =
href=3D"http://www.erdemhelvacioglu.com">http://www.erdemhelvacioglu.com</=
a>><a =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</a><br><=
/blockquote><blockquote type=3D"cite">&lt;<a =
href=3D"http://www.myspace.com/erdemhelvacioglu">http://www.myspace.com/er=
demhelvacioglu</a>><a =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelv=
acioglu</a><br></blockquote><br><br>-- <br><br><span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span><span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span>Emile =
Tobenfeld, Ph. D.<br>Video Producer and Digital Photographer<span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span>Image =
Processing Specialist<br>Video for your HEAD!<span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span><span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span><span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span>Boris =
FX<br><a =
href=3D"http://www.foryourhead.com">http://www.foryourhead.com</a><span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	</span><span =
class=3D"Apple-tab-span" style=3D"white-space:pre">	=
</span>http://www.borisfx.com<br><br>My photography can be viewed at =
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/<b=
r><br>My videos can be viewed =
at<br>http://www.youtube.com/Tobenfeld<br><br>"Don't make book, if you =
cannot cover bets." &nbsp;-- Tom =
Lehrer<br><br></div></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">RICHARD SALES</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> =
</div><br></div></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 01:38:31 2008
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Date: Thu, 25 Dec 2008 17:38:29 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
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=A0I grew up in the time and area of=A0John Fahey=A0(greater Washington DC =
area circa 1960's and 70's)=A0=A0 for what it is worth, I never saw him ber=
ate the audience though being a notorious drunk that is very possible;=A0un=
like many functioning alcoholics it didn't seem to effect his playing all t=
hat much, at least the many times I saw him. He was brilliant the times I s=
aw him in spite of being drunk.=A0 It DID effect his ability to tune and re=
 tune his guitar to the different tunings.=20
He once asked if anyone in the audience could tune his guitar, and admitted=
 being too drunk to;=A0I spoke up and tuned it and he then proceeded to pla=
y, laugh, and tell me I was no better than him at tuning.=A0 I guess you ha=
d to be there!!=A0 LOL
=A0
p.s. from the same time, area, and even record label (Fahey's own Takoma) i=
s the very excellent Leo Kottke, though you only really need maybe his firs=
t four or five albums or for less purist type's I suppose you could settle =
for a best of.
=A0=A0=A0=20
p.s.s.=A0=A0=A0 to continue with my Dalek thread I am=A0 posting a link of =
them live, showcasing their more musique concrete side. (just in case any o=
f you all think they are just another studio sampler cheez whiz "band")=A0 =
LMAO
=A0
thanks for the excellent range and exchange of enlightend opinions in this =
looping group!!
=A0
Marc

--- On Thu, 12/25/08, RICHARD SALES <richard@glasswing.com> wrote:

From: RICHARD SALES <richard@glasswing.com>
Subject: Re: guitar drone music
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 25, 2008, 7:55 PM


for me it's always better to listen to the folks artists (like Junghans and=
 Blackshaw etc) are deriving their sound from. =A0So I would check out John=
 Fahey - the originator of this style..... or Sandy Bull if you can find hi=
s records anywhere.... or maybe Robbie Basho although he didn't seem to hav=
e the grace of playing that John did.=20


Fahey has some great records from his early years like Dance of Death, Deat=
h Chants, Breakdowns and Military Waltzes. =A0It's simple, clean, well play=
ed. =A0And, for what I can find, John was the FIRST modern (starting in 58)=
 acoustic guitarist to use a Weissenborn... and alternate tunings. =A0Unfor=
ntuately John was haunted by various demons and had a reputation for berati=
ng his audience and intentionally getting so drunk onstage that his music w=
as... well... really bad. =A0But early in his career he was a real pioneer =
/ original thinker. =A0


You could always set up a drone with a looper - like a tambura (tanpura) fi=
gure and play over it as in the music of India. =A0Put lots of echo on it a=
nd... voila! =A0Or find a real tambura and tabla player and go to town. =A0


And hey! =A0You're from Turkey! =A0Good grief. =A0There must be boatloads o=
f great oud players there who can help. =A0And frame drum etc.



RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com





On Dec 25, 2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:


I don't know how drone--relevant either of them are, but Steffen Basho Jung=
hans and James Blackshaw are worth a listen on the acoustic side.

For edgier stuff, (but not solo) you could check out Nels Cline.

For Jazzy Americana with noise and loops thrown in there is BIll Frissel.

Good luck with your disk, Erdem -- I've enjoyed both one you sent me and on=
e I bought.

At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:

hi,



i am recording a new guitar-drone record for a german label. i was wonderin=
g which contemporary artists i should listen to? any suggestions?



thanks a lot and best regards.



Erdem Helvacioglu

<http://www.erdemhelvacioglu.com>www.erdemhelvacioglu.com

<http://www.myspace.com/erdemhelvacioglu>www.myspace.com/erdemhelvacioglu


--=20

Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer Image Processing Specialist
Video for your HEAD! Boris FX
http://www.foryourhead.com http://www.borisfx.com

My photography can be viewed at http://www.flickr.com/photos/22231918@N06/c=
ollections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets." =A0-- Tom Lehrer







RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com





=0A=0A=0A      
--0-1594563957-1230255509=:30119
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV>&nbsp;I grew up in the time and area of&nbsp;John Fahey&nbsp;(greater Washington DC area circa 1960's and 70's)&nbsp;&nbsp; for what it is worth, I never saw him berate the audience though being a notorious drunk that is very possible;&nbsp;unlike many functioning alcoholics it didn't seem to effect his playing all that much, at least the many times I saw him. He was brilliant the times I saw him in spite of being drunk.&nbsp; It DID effect his ability to tune and re tune his guitar to the different tunings. </DIV>
<DIV>He once asked if anyone in the audience could tune his guitar, and admitted being too drunk to;&nbsp;I spoke up and tuned it and he then proceeded to play, laugh, and tell me I was no better than him at tuning.&nbsp; I guess you had to be there!!&nbsp; LOL</DIV>
<DIV>&nbsp;</DIV>
<DIV>p.s. from the same time, area, and even record label (Fahey's own Takoma) is the very excellent Leo <SPAN>Kottke</SPAN>, though you only really need maybe his first four or five albums or for less purist type's I suppose you could settle for a best of.</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV>
<DIV>p.s.s.&nbsp;&nbsp;&nbsp; to continue with my Dalek thread I am&nbsp; posting a link of them live, showcasing their more musique concrete side. (just in case any of you all think they are just another studio sampler cheez whiz "band")&nbsp; LMAO</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks for the excellent range and exchange of enlightend opinions in this looping group!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Marc</DIV>
<DIV><BR>--- On <B>Thu, 12/25/08, RICHARD SALES <I>&lt;richard@glasswing.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: RICHARD SALES &lt;richard@glasswing.com&gt;<BR>Subject: Re: guitar drone music<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 25, 2008, 7:55 PM<BR><BR>
<DIV id=yiv684613612>for me it<SPAN>'s alway</SPAN>s better to listen to the folks artists (like Junghans and Blackshaw etc) are deriving their sound from. &nbsp;So I would check out John Fahey - the originator of this style..... or Sandy Bull if you can find his records anywhere.... or maybe Robbie Basho although he didn't seem to have the gr<SPAN>ace o</SPAN>f playing that John did. 
<DIV><BR></DIV>
<DIV>Fahey has some great records from his early years like Dance of Death, Death Chants, Breakdowns and Military Waltzes. &nbsp;It's simple, clean, well played. &nbsp;And, for what I can find, John was the FIRST modern (starting in 58) acoustic guitarist to use a Weissenborn... and alternate tunings. &nbsp;Unforntuately John was haunted by various demons and had a reputation for berating his audience and intentionally getting so drunk onstage that his music was... well... really bad. &nbsp;But early in his career he was a real pioneer / original thinker. &nbsp;</DIV>
<DIV><BR></DIV>
<DIV>You could always set up a drone with a looper - like a tambura (tanpura) figure and play over it as in the music of India. &nbsp;Put lots of echo on it and... voila! &nbsp;Or find a real tambura and tabla player and go to town. &nbsp;</DIV>
<DIV><BR></DIV>
<DIV>And hey! &nbsp;You're from Turkey! &nbsp;Good grief. &nbsp;There must be boatloads of great oud players there who can help. &nbsp;And frame drum etc.</DIV>
<DIV><BR></DIV>
<DIV><SPAN class=Apple-style-span style="FONT-SIZE: 12px">
<DIV><FONT class=Apple-style-span face=Arial>RICHARD SALES</FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.glasswing.com/" target=_blank rel=nofollow>www.glasswing.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.richardsales.com/" target=_blank rel=nofollow>www.richardsales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.hayleysales.com/" target=_blank rel=nofollow>www.hayleysales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><BR></FONT></DIV></SPAN>
<DIV><BR>
<DIV>
<DIV>On Dec 25, 2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:</DIV><BR class=Apple-interchange-newline>
<BLOCKQUOTE type="cite">
<DIV>I don't know how drone--relevant either of them are, but Steffen Basho Junghans and James Blackshaw are worth a listen on the acoustic side.<BR><BR>For edgier stuff, (but not solo) you could check out Nels Cline.<BR><BR>For Jazzy Americana with noise and loops thrown in there is BIll Frissel.<BR><BR>Good luck with your disk, Erdem -- I've enjoyed both one you sent me and one I bought.<BR><BR>At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:<BR>
<BLOCKQUOTE type="cite">hi,<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite"><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">i am recording a new guitar-drone record for a german label. i was wondering which contemporary artists i should listen to? any suggestions?<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite"><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">thanks a lot and best regards.<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite"><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">Erdem Helvacioglu<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">&lt;<A href="http://www.erdemhelvacioglu.com/" target=_blank rel=nofollow>http://www.erdemhelvacioglu.com</A>&gt;<A href="http://www.erdemhelvacioglu.com/" target=_blank rel=nofollow>www.erdemhelvacioglu.com</A><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">&lt;<A href="http://www.myspace.com/erdemhelvacioglu" target=_blank rel=nofollow>http://www.myspace.com/erdemhelvacioglu</A>&gt;<A href="http://www.myspace.com/erdemhelvacioglu" target=_blank rel=nofollow>www.myspace.com/erdemhelvacioglu</A><BR></BLOCKQUOTE><BR><BR>-- <BR><BR><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN>Emile Tobenfeld, Ph. D.<BR>Video Producer and Digital Photographer<SPAN class=Apple-tab-span style="WHITE-SPACE: pre"> </SPAN>Image Processing Specialist<BR>Video for your HEAD!<SPAN class=Apple-tab-span style="WHITE-SPACE: pre"> </SPAN><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN>Boris FX<BR><A href="http://www.foryourhead.com/" target=_blank rel=nofollow>http://www.foryourhead.com</A><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"> </SPAN><SPAN class=Apple-tab-span
 style="WHITE-SPACE: pre"></SPAN>http://www.borisfx.com<BR><BR>My photography can be viewed at http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/<BR><BR>My videos can be viewed at<BR>http://www.youtube.com/Tobenfeld<BR><BR>"Don't make book, if you cannot cover bets." &nbsp;-- Tom Lehrer<BR><BR></DIV></BLOCKQUOTE></DIV><BR>
<DIV><SPAN class=Apple-style-span style="WORD-SPACING: 0px; FONT: 18px Helvetica; TEXT-TRANSFORM: none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; LETTER-SPACING: normal; BORDER-COLLAPSE: separate; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word">
<DIV><FONT class=Apple-style-span face=Arial>RICHARD SALES</FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.glasswing.com/" target=_blank rel=nofollow>www.glasswing.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.richardsales.com/" target=_blank rel=nofollow>www.richardsales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.hayleysales.com/" target=_blank rel=nofollow>www.hayleysales.com</A></FONT></DIV>
<DIV><BR></DIV></DIV></SPAN><BR class=Apple-interchange-newline></DIV></SPAN><BR class=Apple-interchange-newline></DIV></SPAN><BR class=Apple-interchange-newline></DIV><BR></DIV></DIV></DIV></BLOCKQUOTE></td></tr></table><br>



      
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--0-437436713-1230255755=:33179
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oops!!!=A0 speaking of drinking, my excellent=A0Pinot Noir kept me from add=
ing the Dalek link I promised.=A0=A0 Here you go=A0 =A0http://www.youtube.c=
om/watch?v=3DvxTyHYe4yvs&feature=3Drelated
=A0=A0=A0=20

--- On Thu, 12/25/08, RICHARD SALES <richard@glasswing.com> wrote:

From: RICHARD SALES <richard@glasswing.com>
Subject: Re: guitar drone music
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 25, 2008, 7:55 PM


for me it's always better to listen to the folks artists (like Junghans and=
 Blackshaw etc) are deriving their sound from. =A0So I would check out John=
 Fahey - the originator of this style..... or Sandy Bull if you can find hi=
s records anywhere.... or maybe Robbie Basho although he didn't seem to hav=
e the grace of playing that John did.


Fahey has some great records from his early years like Dance of Death, Deat=
h Chants, Breakdowns and Military Waltzes. =A0It's simple, clean, well play=
ed. =A0And, for what I can find, John was the FIRST modern (starting in 58)=
 acoustic guitarist to use a Weissenborn... and alternate tunings. =A0Unfor=
ntuately John was haunted by various demons and had a reputation for berati=
ng his audience and intentionally getting so drunk onstage that his music w=
as... well... really bad. =A0But early in his career he was a real pioneer =
/ original thinker. =A0


You could always set up a drone with a looper - like a tambura (tanpura) fi=
gure and play over it as in the music of India. =A0Put lots of echo on it a=
nd... voila! =A0Or find a real tambura and tabla player and go to town. =A0


And hey! =A0You're from Turkey! =A0Good grief. =A0There must be boatloads o=
f great oud players there who can help. =A0And frame drum etc.



RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com





On Dec 25, 2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:


I don't know how drone--relevant either of them are, but Steffen Basho Jung=
hans and James Blackshaw are worth a listen on the acoustic side.

For edgier stuff, (but not solo) you could check out Nels Cline.

For Jazzy Americana with noise and loops thrown in there is BIll Frissel.

Good luck with your disk, Erdem -- I've enjoyed both one you sent me and on=
e I bought.

At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:

hi,



i am recording a new guitar-drone record for a german label. i was wonderin=
g which contemporary artists i should listen to? any suggestions?



thanks a lot and best regards.



Erdem Helvacioglu

<http://www.erdemhelvacioglu.com>www.erdemhelvacioglu.com

<http://www.myspace.com/erdemhelvacioglu>www.myspace.com/erdemhelvacioglu


--=20

Emile Tobenfeld, Ph. D.
Video Producer and Digital Photographer Image Processing Specialist
Video for your HEAD! Boris FX
http://www.foryourhead.com http://www.borisfx.com

My photography can be viewed at http://www.flickr.com/photos/22231918@N06/c=
ollections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

"Don't make book, if you cannot cover bets." =A0-- Tom Lehrer







RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com





=0A=0A=0A      
--0-437436713-1230255755=:33179
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV><EM><FONT face="Comic Sans MS" color=#4040ff></FONT></EM>oops!!!&nbsp; speaking of drinking, my excellent&nbsp;Pinot Noir kept me from adding the Dalek link I promised.&nbsp;&nbsp; Here you go&nbsp; &nbsp;<A href="http://www.youtube.com/watch?v=vxTyHYe4yvs&amp;feature=related">http://www.youtube.com/watch?v=vxTyHYe4yvs&amp;feature=related</A></DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Thu, 12/25/08, RICHARD SALES <I>&lt;richard@glasswing.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: RICHARD SALES &lt;richard@glasswing.com&gt;<BR>Subject: Re: guitar drone music<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 25, 2008, 7:55 PM<BR><BR>
<DIV id=yiv1200987186>for me it's always better to listen to the folks artists (like Junghans and Blackshaw etc) are deriving their sound from. &nbsp;So I would check out John Fahey - the originator of this style..... or Sandy Bull if you can find his records anywhere.... or maybe Robbie Basho although he didn't seem to have the grace of playing that John did.
<DIV><BR></DIV>
<DIV>Fahey has some great records from his early years like Dance of Death, Death Chants, Breakdowns and Military Waltzes. &nbsp;It's simple, clean, well played. &nbsp;And, for what I can find, John was the FIRST modern (starting in 58) acoustic guitarist to use a Weissenborn... and alternate tunings. &nbsp;Unforntuately John was haunted by various demons and had a reputation for berating his audience and intentionally getting so drunk onstage that his music was... well... really bad. &nbsp;But early in his career he was a real pioneer / original thinker. &nbsp;</DIV>
<DIV><BR></DIV>
<DIV>You could always set up a drone with a looper - like a tambura (tanpura) figure and play over it as in the music of India. &nbsp;Put lots of echo on it and... voila! &nbsp;Or find a real tambura and tabla player and go to town. &nbsp;</DIV>
<DIV><BR></DIV>
<DIV>And hey! &nbsp;You're from Turkey! &nbsp;Good grief. &nbsp;There must be boatloads of great oud players there who can help. &nbsp;And frame drum etc.</DIV>
<DIV><BR></DIV>
<DIV><SPAN class=Apple-style-span style="FONT-SIZE: 12px">
<DIV><FONT class=Apple-style-span face=Arial>RICHARD SALES</FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.glasswing.com/" target=_blank rel=nofollow>www.glasswing.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.richardsales.com/" target=_blank rel=nofollow>www.richardsales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.hayleysales.com/" target=_blank rel=nofollow>www.hayleysales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><BR></FONT></DIV></SPAN>
<DIV><BR>
<DIV>
<DIV>On Dec 25, 2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:</DIV><BR class=Apple-interchange-newline>
<BLOCKQUOTE type="cite">
<DIV>I don't know how drone--relevant either of them are, but Steffen Basho Junghans and James Blackshaw are worth a listen on the acoustic side.<BR><BR>For edgier stuff, (but not solo) you could check out Nels Cline.<BR><BR>For Jazzy Americana with noise and loops thrown in there is BIll Frissel.<BR><BR>Good luck with your disk, Erdem -- I've enjoyed both one you sent me and one I bought.<BR><BR>At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:<BR>
<BLOCKQUOTE type="cite">hi,<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite"><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">i am recording a new guitar-drone record for a german label. i was wondering which contemporary artists i should listen to? any suggestions?<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite"><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">thanks a lot and best regards.<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite"><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">Erdem Helvacioglu<BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">&lt;<A href="http://www.erdemhelvacioglu.com/" target=_blank rel=nofollow>http://www.erdemhelvacioglu.com</A>&gt;<A href="http://www.erdemhelvacioglu.com/" target=_blank rel=nofollow>www.erdemhelvacioglu.com</A><BR></BLOCKQUOTE>
<BLOCKQUOTE type="cite">&lt;<A href="http://www.myspace.com/erdemhelvacioglu" target=_blank rel=nofollow>http://www.myspace.com/erdemhelvacioglu</A>&gt;<A href="http://www.myspace.com/erdemhelvacioglu" target=_blank rel=nofollow>www.myspace.com/erdemhelvacioglu</A><BR></BLOCKQUOTE><BR><BR>-- <BR><BR><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN>Emile Tobenfeld, Ph. D.<BR>Video Producer and Digital Photographer<SPAN class=Apple-tab-span style="WHITE-SPACE: pre"> </SPAN>Image Processing Specialist<BR>Video for your HEAD!<SPAN class=Apple-tab-span style="WHITE-SPACE: pre"> </SPAN><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"></SPAN>Boris FX<BR><A href="http://www.foryourhead.com/" target=_blank rel=nofollow>http://www.foryourhead.com</A><SPAN class=Apple-tab-span style="WHITE-SPACE: pre"> </SPAN><SPAN class=Apple-tab-span
 style="WHITE-SPACE: pre"></SPAN>http://www.borisfx.com<BR><BR>My photography can be viewed at http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/<BR><BR>My videos can be viewed at<BR>http://www.youtube.com/Tobenfeld<BR><BR>"Don't make book, if you cannot cover bets." &nbsp;-- Tom Lehrer<BR><BR></DIV></BLOCKQUOTE></DIV><BR>
<DIV><SPAN class=Apple-style-span style="WORD-SPACING: 0px; FONT: 18px Helvetica; TEXT-TRANSFORM: none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; LETTER-SPACING: normal; BORDER-COLLAPSE: separate; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV style="WORD-WRAP: break-word">
<DIV><FONT class=Apple-style-span face=Arial>RICHARD SALES</FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.glasswing.com/" target=_blank rel=nofollow>www.glasswing.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.richardsales.com/" target=_blank rel=nofollow>www.richardsales.com</A></FONT></DIV>
<DIV><FONT class=Apple-style-span color=#908e38><A href="http://www.hayleysales.com/" target=_blank rel=nofollow>www.hayleysales.com</A></FONT></DIV>
<DIV><BR></DIV></DIV></SPAN><BR class=Apple-interchange-newline></DIV></SPAN><BR class=Apple-interchange-newline></DIV></SPAN><BR class=Apple-interchange-newline></DIV><BR></DIV></DIV></DIV></BLOCKQUOTE></td></tr></table><br>



      
--0-437436713-1230255755=:33179--

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Date: Fri, 26 Dec 2008 10:44:25 +0900
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special
 sauce, secret goo)
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At 1:04 PM -0500 12/25/08, Jeff Duke wrote:
>Mech, thanks for the heads up on Devis Forum, I wanted to get into 
>DIY and there is a great section on this very subject. (Soldering 
>irons heating up)

I agree!  I really want to get into the same territory.  But every 
time I heat up a soldering iron, I either hurt myself or set 
something on fire.  :(

You should also try going over to Beavis Audio ( 
http://www.beavisaudio.com/ ).  Dano -- the guy who runs it -- is 
really cool, and he puts up a crapload of basic DIY stuff that's 
great to have as a reference.

In addition, this looks really interesting for somebody just starting 
out: http://www.beavisaudio.com/bboard/ (not to mention it may keep 
me from burning my house down).

>I think a Peep clone could be great on lots o' stuff!

Oh yeah.  I've got a Peep and a PeepPeep (2x in one box), but the 
PeepPlug looks really intriguing too.  You've probably already found 
them, but I think the Peep schems are up on the DIY section of the 
Devi board too, if you want to build your own.

The one thing I keep meaning to do (but forgetting) is to run one of 
these into the expression input on my FC-300 pedal, to see how well 
MIDI control might work with a photo eye.  Lots of possibilities 
there, if it'll function.

>And all the best to all of you out there in looper land on this 
>beautiful sunny Christmas in Florida, USA! 83 degrees today. sheesh!

*sigh* That would actually be nice.  Half my house doesn't have heat 
yet, and even though we're only in the 40's-50's outside, it's still 
pretty chilly downstairs.  :P

>New little glitchy video thingy at http://www.vimeo.com/2622319

Kore ga daisuki des yo!!! (I like this a lot!)  Looking forward to 
seeing some more!  :)

	--m.
-- 
_____
"Image is blasphemy. Text is heresy. The spoken word is a lie."
	 X  <--- you are here.

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Date: Fri, 26 Dec 2008 10:45:40 +0900
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At 11:59 AM -0800 12/25/08, Rick Walker wrote:
>Jeez, Mech,  I had no idea that you had all this knowledge of radical fuzzes.

Uhm well, frankly, me neither.  ;)

I merely started getting into obscure pedals a couple of years ago 
(hey, they're cheaper by the dozen), and I guess I've figured out a 
thing or two since then. <*shrug*>

>Your post was fantastic,  I just wish I could hear these pedals you talk about
>in person.

Thanks!  Just remember, YouTube is your friend.  Many of the smaller 
boutique manufacturers have started putting videos online, so you can 
find some good stuff by going directly to their site.  Also, there's 
a retailer named Pro Guitar Shop ( 
http://www.proguitarshop.com/index.php?CategoryID=304 or search for 
proguitarshop on YouTube) that does some very good video demos of the 
stuff they sell.  In addition, Effekt Pedaler -- a European dealer 
out of Copenhagen -- occasionally posts some interesting demos ( 
http://www.youtube.com/user/effektpedaler ).  And you might also try 
looking at http://FuzzHugger.com/ or the pedal effects section of 
Analogue Haven ( http://www.analoguehaven.com/what/ and scroll down) 
if you're looking to feed your GAS.

>Of all the pedals you talk about (and assuming that one already owned
>two digital modelling pedals and a half dozen cheap stomp box, non-botique
>distorions (pro co rat, big muff, boss ds-1, et. al.) and a zvex fuzz factory,
>which one of these pedals would you buy for maximum weirdness if you were
>going to a desert island and had to buy only one (and how much does it cost)?

Well, I had to make that choice once already (when I moved out of the 
country last year, and only had a limited amount of luggage space). 
I could only really throw in one "radical" fuzz, so I chose my 
Hachihachi Shiki Kebadate Hizumaseki Super Oscillo Fuzz (Type 88) 
from Lastgasp Art Laboratories (hereafter referred to as the LAL 88, 
or simply the "88").  You can find the manufacturers rundown at 
http://lalweb.com/88/88-e.html and they usually run about the same as 
a Fuzz Factory (got mine from shawn at analogue haven, where they're 
going for about $265).

Not sure if I'd make that choice again, though, for a single fuzz. 
While my 88 is by far my most versatile effect, it can also be my 
least controllable.  It's sensitive to what instrument is plugged 
into it, as well as where in the signal chain it sits.

On the up side, it's a real wildcard, and never ever fails to 
amuse/amaze.  You just have to be very methodical with your setup. 
You've got six switches that can be used together in any combination, 
as well as a continuous Adjust knob whose function varies according 
to which switches are selected.  Add to this that it behaves 
completely differently depending upon the type of the 
guitar/instrument pickup and whether it's placed right after the 
guitar or someplace else in a buffered signal chain, and you can see 
that it's really easy to get lost.  But sometimes that's half the fun 
(just remember to take good notes).

Other options (Devi pedals in particular) might be either something 
with a Feedback Loop, or one of the Manglers with joystick control.

For the former, take a look at the Spectacular Aenima ( 
http://www.deviever.com/fx/spectacularaenima/index.html ).  This is 
the Aenima fuzz that Daryl mentioned a few posts back, combined with 
an extra distortion circuit (the 33) and a Feedback Loop with Photo 
Eye.  So not only do you get a radical fuzz, but you can insert other 
pedals into the loop for more and different effects.  By feeding a 
pedal back into itself, you can get some really bizarre results 
ranging from runaway echo effects (for delay) to screaming 
oscillation (some fuzzboxes).  You can also turn on the photo eye and 
use that to control the level of signal sent into the Feedback Loop. 
For more detail, take a look at this: 
http://www.deviever.com/forum/viewtopic.php?f=40&t=1135

As to the latter suggestion (joystick control), I'd consider the Bit 
Mangler ( http://www.deviever.com/fx/bitmangler/ ).  I've got a Bit 
(one of the first made, as a matter of fact, since Devi merely 
described a new design and I ordered one sight unseen).  It's a 
fantastically searing modern fuzz, almost approaching "synth" or 
"video game" tones.  With the Bit Mangler, the Bit is paired with the 
VFM (Vintage Fuzz Master) which is a more traditional high-gain 
octave fuzz.  A joystick is then used to blend between the two 
circuits.  You can get a lot of interesting tones by merely 
manipulating the joystick to different positions.  Take a look at the 
videos and you'll see what I mean.

At Analogue Haven, the Spectacular Aenima is $195, and the Bit Mangler is $295.

Finally, I'm rather intrigued by this: 
http://www.wmdevices.com/geiger.php -- the WMD Geiger Counter. 
Everybody keeps saying that this is set to be the Industrial 
musician's new love, and if you're into digital distortion, it's 
pretty apparent why.  It features conventional preamp distortion, 
with both bit-depth *and* sample-rate reduction (giving you effects 
similar to the Alesis Bitrman, TSP Downgrade, and Frostwave 
Alienator).  Then it also features a set of digital wave tables that 
you run (rasterize?) the signal through.

Here's what the home page has to say about the Wave Table function: 
"The wave table stage takes your signal and destroys it with math. 
This produces some incredible sounds. The wave tables are organized 
so that a more extreme version is typically found one up from the 
current one. There are 252 wave tables in all, each with different 
harmonic content."

The marketing sounds pretty cool, and the sound samples don't 
disappoint, either.  It just depends on how you feel about digital 
types of distortion.  If that's your bag, this could definitely be 
worth considering.  $299 at Analogue Haven.

>Also,  would you refresh our collective memory (okay,  my memory) and tell us
>1)  what country you live in (I assumed it was the US, incorrectly) and

Well, we were living in the US, but picked up and left for Japan not 
long after my performance at Y2k7, so I've been out here for almost a 
year now.  Pretty cool, except for the occasional bout of culture 
shock.

>2)  what URL we can go to to hear some of the music you've made with all
>of these cool stuff.

Hah!  Thanks for the nudge, Rick.  You know I'm an anal-retentive 
tweek-a-holic, so I never actually *finish* anything, dammit.  ;)

My wife has even become so irritated at the fact I wasn't providing 
any fresh content, that I think she put my Live Looping web page ( 
http://www.dustbunnies.info/ ) on ice for the moment.  I hope to 
remedy that soon, but for the moment, I think my Loopfest performance 
MP3's are still up at http://www.y2kloopfest.com/y2k7/mp3.html (11:00 
Saturday night) and the videos are on YouTube at 
http://www.youtube.com/watch?v=ODgLXT56b7M and 
http://www.youtube.com/watch?v=UcffXnqv_Lw

Unfortunately, no psychotic fuzzbox effects there.  Mostly just my 
fretless 11-string (electric oud) with VG-99 and Looperlative.

>Thanks for your informative post,  as always!

Thanks for the complement!  I just enjoy chatting about this stuff; 
it makes me happy.  :)

	--m.
-- 
_____
"when you think your dreams are shattered, it's time to dream new dreams"

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Subject: Re: guitar drone music
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real guitar drone?

essential: oren ambarchi.

i have 2 guitar drone tracks right now on myspace =
(http://www.myspace.com/arielrzezak=20
), one of them its based exclusively on one guitar note manipulated =20
live with a laptop (its called 041008). i would love to hear your =20
comments.

thanks, ariel.

El 25/12/2008, a las 17:50, Erdem Helvacioglu escribi=F3:

> hi,
>
> i am recording a new guitar-drone record for a german label. i was =20
> wondering which contemporary artists i should listen to? any =20
> suggestions?
>
> thanks a lot and best regards.
>
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div>real guitar =
drone?</div><div><br></div><div>essential: oren =
ambarchi.&nbsp;</div><div><br></div><div>i have 2 guitar drone tracks =
right now on myspace (<a =
href=3D"http://www.myspace.com/arielrzezak">http://www.myspace.com/arielrz=
ezak</a>), one of them its based exclusively on one guitar note =
manipulated live with a laptop (its called 041008). i would love to hear =
your comments.</div><div><br></div><div>thanks, =
ariel.&nbsp;</div><br><div><div>El 25/12/2008, a las 17:50, Erdem =
Helvacioglu escribi=F3:</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 =
bgcolor=3D"#ffffff"><div>hi,</div><div>&nbsp;</div><div>i am recording a =
new guitar-drone record for a german label. i was wondering which =
contemporary artists i should listen to? any =
suggestions?</div><div>&nbsp;</div><div>thanks a lot and best =
regards.</div><div>&nbsp;</div><div>Erdem Helvacioglu<br><a =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</a><br><=
a =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelv=
acioglu</a><br></div></div></span></blockquote></div><br></body></html>=

--Apple-Mail-2-696899802--

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Subject: Re: guitar drone music
Date: Thu, 25 Dec 2008 18:46:15 -0800
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hi-

for guitar drone music, you can't go wrong with the following albums:

1. fear falls burning - he spoke in dead tongues
2. sunn o))) - grimm robe demos
3. earth - earth 2
4. boris - absolutego
5. bowery electric - bowery electric
5. eluvium - talk amongst the trees
6. jesu - jesu
7. labradford - prazision lp
8. lab report - figure x-71
9. lovesliescrushing - glissceule
10. lustmord - juggernaut
11. main - firmament
12. sunn o))) & boris - altar
13. windy & carl - antarctica bliss out
14. zoviet france - the decriminalization of country music
15. the valley of wolves - blackness poured from the sky, and darkened  
the earth...

it's nice to finally see a topic on this list that i can relate to. i  
listen to a lot of music like this, obviously. i wouldn't necessarily  
say that the albums listed above are my favorite albums by these  
artists, they are definitely good, and are their most representative  
"guitar drone" work. and of course, all of the artists mentioned above  
are amazing throughout the remainder of their catalogs, though some  
vary wildly from album to album (boris and earth, in particular).

as a disclaimer, i have to admit, i mixed that last project "the  
valley of the wolves" and it is freely available to download from  
myspace, here:

http://www.myspace.com/thevalleyofwolves

in relation to looping, the entire record was done with a guitar, a  
bass, a digitech PDS8000, digitech RDS3.6, and a digitech RP250,  
before being further mutilated in the computer (digital performer)  
during the mixing stage. i offered him the use of my repeater, but it  
didn't get any action. :)

enjoy, and have a good droning holiday!

- tyler / battery cage
================

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i wonder how many Fahey fans are about these days?
to me he was a genius-one of  kind-got to see him a couple times-he was dri=
nkin' 6 pack diet coke on stage both times-
never bought his records-fan of the 'live' that i am-
but he just seemed to mezmorize the crowd w/ his folk drone twang-pick/grin=
 type thangg.
i dont think music gets any darker or deeper than his...
i'll never ferget those shows.
my two cents
s

-----Original Message-----
>From: Marc Marshall <agentlesoul2004@yahoo.com>
>Sent: Dec 25, 2008 8:38 PM
>To: Loopers-Delight@loopers-delight.com
>Subject: Re: guitar drone music
>
>
>
>=C2=A0I grew up in the time and area of=C2=A0John Fahey=C2=A0(greater Wash=
ington DC area circa 1960's and 70's)=C2=A0=C2=A0 for what it is worth, I n=
ever saw him berate the audience though being a notorious drunk that is ver=
y possible;=C2=A0unlike many functioning alcoholics it didn't seem to effec=
t his playing all that much, at least the many times I saw him. He was bril=
liant the times I saw him in spite of being drunk.=C2=A0 It DID effect his =
ability to tune and re tune his guitar to the different tunings.=20
>He once asked if anyone in the audience could tune his guitar, and admitte=
d being too drunk to;=C2=A0I spoke up and tuned it and he then proceeded to=
 play, laugh, and tell me I was no better than him at tuning.=C2=A0 I guess=
 you had to be there!!=C2=A0 LOL
>=C2=A0
>p.s. from the same time, area, and even record label (Fahey's own Takoma) =
is the very excellent Leo Kottke, though you only really need maybe his fir=
st four or five albums or for less purist type's I suppose you could settle=
 for a best of.
>=C2=A0=C2=A0=C2=A0=20
>p.s.s.=C2=A0=C2=A0=C2=A0 to continue with my Dalek thread I am=C2=A0 posti=
ng a link of them live, showcasing their more musique concrete side. (just =
in case any of you all think they are just another studio sampler cheez whi=
z "band")=C2=A0 LMAO
>=C2=A0
>thanks for the excellent range and exchange of enlightend opinions in this=
 looping group!!
>=C2=A0
>Marc
>
>--- On Thu, 12/25/08, RICHARD SALES <richard@glasswing.com> wrote:
>
>From: RICHARD SALES <richard@glasswing.com>
>Subject: Re: guitar drone music
>To: Loopers-Delight@loopers-delight.com
>Date: Thursday, December 25, 2008, 7:55 PM
>
>
>for me it's always better to listen to the folks artists (like Junghans an=
d Blackshaw etc) are deriving their sound from. =C2=A0So I would check out =
John Fahey - the originator of this style..... or Sandy Bull if you can fin=
d his records anywhere.... or maybe Robbie Basho although he didn't seem to=
 have the grace of playing that John did.=20
>
>
>Fahey has some great records from his early years like Dance of Death, Dea=
th Chants, Breakdowns and Military Waltzes. =C2=A0It's simple, clean, well =
played. =C2=A0And, for what I can find, John was the FIRST modern (starting=
 in 58) acoustic guitarist to use a Weissenborn... and alternate tunings. =
=C2=A0Unforntuately John was haunted by various demons and had a reputation=
 for berating his audience and intentionally getting so drunk onstage that =
his music was... well... really bad. =C2=A0But early in his career he was a=
 real pioneer / original thinker. =C2=A0
>
>
>You could always set up a drone with a looper - like a tambura (tanpura) f=
igure and play over it as in the music of India. =C2=A0Put lots of echo on =
it and... voila! =C2=A0Or find a real tambura and tabla player and go to to=
wn. =C2=A0
>
>
>And hey! =C2=A0You're from Turkey! =C2=A0Good grief. =C2=A0There must be b=
oatloads of great oud players there who can help. =C2=A0And frame drum etc.
>
>
>
>RICHARD SALES
>www.glasswing.com
>www.richardsales.com
>www.hayleysales.com
>
>
>
>
>
>On Dec 25, 2008, at 12:14 PM, Emile Tobenfeld (a.k.a Dr. T) wrote:
>
>
>I don't know how drone--relevant either of them are, but Steffen Basho Jun=
ghans and James Blackshaw are worth a listen on the acoustic side.
>
>For edgier stuff, (but not solo) you could check out Nels Cline.
>
>For Jazzy Americana with noise and loops thrown in there is BIll Frissel.
>
>Good luck with your disk, Erdem -- I've enjoyed both one you sent me and o=
ne I bought.
>
>At 9:50 PM +0200 12/25/08, Erdem Helvacioglu wrote:
>
>hi,
>
>
>
>i am recording a new guitar-drone record for a german label. i was wonderi=
ng which contemporary artists i should listen to? any suggestions?
>
>
>
>thanks a lot and best regards.
>
>
>
>Erdem Helvacioglu
>
><http://www.erdemhelvacioglu.com>www.erdemhelvacioglu.com
>
><http://www.myspace.com/erdemhelvacioglu>www.myspace.com/erdemhelvacioglu
>
>
>--=20
>
>Emile Tobenfeld, Ph. D.
>Video Producer and Digital Photographer Image Processing Specialist
>Video for your HEAD! Boris FX
>http://www.foryourhead.com http://www.borisfx.com
>
>My photography can be viewed at http://www.flickr.com/photos/22231918@N06/=
collections/72157603627170351/
>
>My videos can be viewed at
>http://www.youtube.com/Tobenfeld
>
>"Don't make book, if you cannot cover bets." =C2=A0-- Tom Lehrer
>
>
>
>
>
>
>
>RICHARD SALES
>www.glasswing.com
>www.richardsales.com
>www.hayleysales.com
>
>
>
>
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 02:56:31 2008
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From: "SP Goodman" <spgoodman@earthlight.net>
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Subject: Christmas V-Card 2008
Date: Fri, 26 Dec 2008 02:56:21 -0000
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Well, version 1 anyhoo.  Having too much fun working on a version of "Silent 
Night"...

Best to all!

http://www.vimeo.com/2632799

SP Goodman
*
http://www.vimeo.com/spgoodman
http://www.last.fm/music/Stephen+Goodman

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 03:03:14 2008
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From: Marc Marshall <agentlesoul2004@yahoo.com>
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Subject: Re: guitar drone music
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some nice ones there, Tyler.=A0=A0 May I add in a similar vein:
=A0
Spacemen 3=A0=A0=A0any of the early ones
Flying Saucer Attack=A0=A0 ditto
Jessamine=A0=A0=A0=A0anything is good IMHO
Seefeel=A0=A0=A0=A0=A0=A0Polyfusia=A0=A0 and Quique
=A0
Marc=A0
=A0=A0=A0=20

--- On Thu, 12/25/08, tyler newman <tyler@batterycage.com> wrote:

From: tyler newman <tyler@batterycage.com>
Subject: Re: guitar drone music
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 25, 2008, 9:46 PM

hi-

for guitar drone music, you can't go wrong with the following albums:

1. fear falls burning - he spoke in dead tongues
2. sunn o))) - grimm robe demos
3. earth - earth 2
4. boris - absolutego
5. bowery electric - bowery electric
5. eluvium - talk amongst the trees
6. jesu - jesu
7. labradford - prazision lp
8. lab report - figure x-71
9. lovesliescrushing - glissceule
10. lustmord - juggernaut
11. main - firmament
12. sunn o))) & boris - altar
13. windy & carl - antarctica bliss out
14. zoviet france - the decriminalization of country music
15. the valley of wolves - blackness poured from the sky, and darkened the
earth...

it's nice to finally see a topic on this list that i can relate to. i
listen to a lot of music like this, obviously. i wouldn't necessarily say
that the albums listed above are my favorite albums by these artists, they =
are
definitely good, and are their most representative "guitar drone"
work. and of course, all of the artists mentioned above are amazing through=
out
the remainder of their catalogs, though some vary wildly from album to albu=
m
(boris and earth, in particular).

as a disclaimer, i have to admit, i mixed that last project "the valley of
the wolves" and it is freely available to download from myspace, here:

http://www.myspace.com/thevalleyofwolves

in relation to looping, the entire record was done with a guitar, a bass, a
digitech PDS8000, digitech RDS3.6, and a digitech RP250, before being furth=
er
mutilated in the computer (digital performer) during the mixing stage. i of=
fered
him the use of my repeater, but it didn't get any action. :)

enjoy, and have a good droning holiday!

- tyler / battery cage
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D

=0A=0A=0A      
--0-250701896-1230260593=:99001
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>some nice ones there, Tyler.&nbsp;&nbsp; May I add in a similar vein:</DIV>
<DIV>&nbsp;</DIV>
<DIV>Spacemen 3&nbsp;&nbsp;&nbsp;any of the early ones</DIV>
<DIV>Flying Saucer Attack&nbsp;&nbsp; ditto</DIV>
<DIV>Jessamine&nbsp;&nbsp;&nbsp;&nbsp;anything is good IMHO</DIV>
<DIV>Seefeel&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Polyfusia&nbsp;&nbsp; and Quique</DIV>
<DIV>&nbsp;</DIV>
<DIV>Marc&nbsp;</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Thu, 12/25/08, tyler newman <I>&lt;tyler@batterycage.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: tyler newman &lt;tyler@batterycage.com&gt;<BR>Subject: Re: guitar drone music<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 25, 2008, 9:46 PM<BR><BR><PRE>hi-

for guitar drone music, you can't go wrong with the following albums:

1. fear falls burning - he spoke in dead tongues
2. sunn o))) - grimm robe demos
3. earth - earth 2
4. boris - absolutego
5. bowery electric - bowery electric
5. eluvium - talk amongst the trees
6. jesu - jesu
7. labradford - prazision lp
8. lab report - figure x-71
9. lovesliescrushing - glissceule
10. lustmord - juggernaut
11. main - firmament
12. sunn o))) &amp; boris - altar
13. windy &amp; carl - antarctica bliss out
14. zoviet france - the decriminalization of country music
15. the valley of wolves - blackness poured from the sky, and darkened the
earth...

it's nice to finally see a topic on this list that i can relate to. i
listen to a lot of music like this, obviously. i wouldn't necessarily say
that the albums listed above are my favorite albums by these artists, they are
definitely good, and are their most representative "guitar drone"
work. and of course, all of the artists mentioned above are amazing throughout
the remainder of their catalogs, though some vary wildly from album to album
(boris and earth, in particular).

as a disclaimer, i have to admit, i mixed that last project "the valley of
the wolves" and it is freely available to download from myspace, here:

http://www.myspace.com/thevalleyofwolves

in relation to looping, the entire record was done with a guitar, a bass, a
digitech PDS8000, digitech RDS3.6, and a digitech RP250, before being further
mutilated in the computer (digital performer) during the mixing stage. i offered
him the use of my repeater, but it didn't get any action. :)

enjoy, and have a good droning holiday!

- tyler / battery cage
================

</PRE></BLOCKQUOTE></td></tr></table><br>

      
--0-250701896-1230260593=:99001--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 03:13:50 2008
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From: Rev Fever <revfever@ubergadget.com>
Subject: Re: guitar drone music  (Fahey)
Date: Thu, 25 Dec 2008 19:13:07 -0800
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>
> -----Original Message-----
>> From: Marc Marshall <agentlesoul2004@yahoo.com>
>> Sent: Dec 25, 2008 8:38 PM
>> To: Loopers-Delight@loopers-delight.com
>> Subject: Re: guitar drone music
>>
>> I grew up in the time and area of John Fahey (greater Washington  
>> DC area circa 1960's and 70's)   for what it is worth, I never saw  
>> him berate the audience though being a notorious drunk that is  
>> very possible; unlike many functioning alcoholics it didn't seem  
>> to effect his playing all that much, at least the many times I saw  
>> him. He was brilliant the times I saw him in spite of being  
>> drunk.  It DID effect his ability to tune and re tune his guitar  
>> to the different tunings.
>> He once asked if anyone in the audience could tune his guitar, and  
>> admitted being too drunk to; I spoke up and tuned it and he then  
>> proceeded to play, laugh, and tell me I was no better than him at  
>> tuning.  I guess you had to be there!!  LOL

Damn! That's a beautiful story!  Thanx for sharing.

I am still kicking myself for NOT making the effort to go see Fahey  
here in Portland, at the (long gone) Medicine Hat Gallery a small few  
years ago.
It was one of his last shows. (or WAS his last?) He passed on not too  
long down the road after that.(he also lived in Oregon and not all  
that far from Portland, as I recall?)
I guess I thought he'd always be around. BIG mistake!  Same goes for  
ANYONE.

As for the Fahey non-experience, guess I should have adhered to my  
even longer-time motto which is "Love 'em while ya got 'em!".  But,  
that time, I screwed up.
However, I did learn a lesson though to try to not allow something  
like that to ever happen again, if at all possible.    So far....so  
good.... :-)

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/


--Apple-Mail-2-698401073
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "><div><blockquote =
type=3D"cite"><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; ">-----Original Message-----</div> <blockquote =
type=3D"cite"><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">From: Marc Marshall &lt;<a =
href=3D"mailto:agentlesoul2004@yahoo.com">agentlesoul2004@yahoo.com</a>></=
div><div style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: =
0px; margin-left: 0px; ">Sent: Dec 25, 2008 8:38 PM</div><div =
style=3D"margin-top: 0px; margin-right: 0px; margin-bottom: 0px; =
margin-left: 0px; ">To: <a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a></div><div style=3D"margin-top: 0px; margin-right: 0px; =
margin-bottom: 0px; margin-left: 0px; ">Subject: Re: guitar drone =
music</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; min-height: 14px; "><span class=3D"Apple-style-span" =
style=3D"-webkit-text-stroke-width: -1; ">I grew up in the time and area =
of=A0John Fahey=A0(greater Washington DC area circa 1960's and 70's)=A0=A0=
 for what it is worth, I never saw him berate the audience though being =
a notorious drunk that is very possible;=A0unlike many functioning =
alcoholics it didn't seem to effect his playing all that much, at least =
the many times I saw him. He was brilliant the times I saw him in spite =
of being drunk.=A0 It DID effect his ability to tune and re tune his =
guitar to the different tunings.=A0</span></div><div style=3D"margin-top: =
0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">He once =
asked if anyone in the audience could tune his guitar, and admitted =
being too drunk to;=A0I spoke up and tuned it and he then proceeded to =
play, laugh, and tell me I was no better than him at tuning.=A0 I guess =
you had to be there!!=A0 =
LOL</div></blockquote></blockquote><br></div><div>Damn! That's a =
beautiful story! =A0Thanx for sharing.</div><div><br></div><div>I am =
still kicking myself for NOT making the effort to go see Fahey here in =
Portland, at the (long gone) Medicine Hat Gallery a small few years =
ago.=A0</div><div>It was one of his last shows.=A0(or WAS his last?) He =
passed on not too long down the road after that.(he also lived in Oregon =
and not all that far from Portland, as I recall?)</div><div>I guess I =
thought he'd always be around. BIG mistake! =A0Same goes for =
ANYONE.=A0</div><div><br></div><div>As for the Fahey =
non-experience,=A0guess I should have adhered to my even longer-time =
motto which is "Love 'em while ya got 'em!". =A0But, that time, I =
screwed up.=A0</div><div>However, I did learn a lesson though to try to =
not allow something like that to ever happen again, if at all possible. =
=A0 =A0So far....so good.... :-)</div><div><br></div><div>All the =
best,</div><div>Rev Fever</div><div><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><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div></span> </div><br></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 03:32:13 2008
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My cup runneth over - thanks for all these recommendations and those 
from other folks too. I'm familiar with five or six of these and am 
eager to hear more. Not sure if Jesu really is drone - if so, I'd 
recommend things like Isis, as well - but its good stuff anyway.

I'm giving Fahey's "Death Chants" a spin now...

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

> hi-
>
> for guitar drone music, you can't go wrong with the following albums:
>
> 1. fear falls burning - he spoke in dead tongues
> 2. sunn o))) - grimm robe demos
> 3. earth - earth 2
> 4. boris - absolutego
> 5. bowery electric - bowery electric
> 5. eluvium - talk amongst the trees
> 6. jesu - jesu
> 7. labradford - prazision lp
> 8. lab report - figure x-71
> 9. lovesliescrushing - glissceule
> 10. lustmord - juggernaut
> 11. main - firmament
> 12. sunn o))) & boris - altar
> 13. windy & carl - antarctica bliss out
> 14. zoviet france - the decriminalization of country music
> 15. the valley of wolves - blackness poured from the sky, and darkened 
> the earth...

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Date: Thu, 25 Dec 2008 19:33:12 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: Re: guitar drone music  (Fahey)
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more=A0from the good old days.=A0 LMAO=A0=A0=A0=A0=A0 Saw a very young Leo=
=A0Kottke for exactly $1.00 at Gerorge Mason=A0college in 1973.=A0=A0 Sat o=
n the gym=A0floor and was mesmorized by his playing and laughed out loud at=
 his in between song=A0mumblings.=A0=A0=A0 Now concerts cost as much as a u=
sed lap top computer..=A0........=A0=A0=A0=A0 LOL=A0
=A0=A0=A0=20

--- On Thu, 12/25/08, Rev Fever <revfever@ubergadget.com> wrote:


From: Rev Fever <revfever@ubergadget.com>
Subject: Re: guitar drone music (Fahey)
To: Loopers-Delight@loopers-delight.com
Date: Thursday, December 25, 2008, 10:13 PM







-----Original Message-----

From: Marc Marshall <agentlesoul2004@yahoo.com>
Sent: Dec 25, 2008 8:38 PM
To: Loopers-Delight@loopers-delight.com
Subject: Re: guitar drone music


I grew up in the time and area of=A0John Fahey=A0(greater Washington DC are=
a circa 1960's and 70's)=A0=A0 for what it is worth, I never saw him berate=
 the audience though being a notorious drunk that is very possible;=A0unlik=
e many functioning alcoholics it didn't seem to effect his playing all that=
 much, at least the many times I saw him. He was brilliant the times I saw =
him in spite of being drunk.=A0 It DID effect his ability to tune and re tu=
ne his guitar to the different tunings.=A0
He once asked if anyone in the audience could tune his guitar, and admitted=
 being too drunk to;=A0I spoke up and tuned it and he then proceeded to pla=
y, laugh, and tell me I was no better than him at tuning.=A0 I guess you ha=
d to be there!!=A0 LOL

Damn! That's a beautiful story! =A0Thanx for sharing.


I am still kicking myself for NOT making the effort to go see Fahey here in=
 Portland, at the (long gone) Medicine Hat Gallery a small few years ago.=
=A0
It was one of his last shows.=A0(or WAS his last?) He passed on not too lon=
g down the road after that.(he also lived in Oregon and not all that far fr=
om Portland, as I recall?)
I guess I thought he'd always be around. BIG mistake! =A0Same goes for ANYO=
NE.=A0


As for the Fahey non-experience,=A0guess I should have adhered to my even l=
onger-time motto which is "Love 'em while ya got 'em!". =A0But, that time, =
I screwed up.=A0
However, I did learn a lesson though to try to not allow something like tha=
t to ever happen again, if at all possible. =A0 =A0So far....so good.... :-=
)


All the best,
Rev Fever

http://www.spiritone.com/~rvfever/
=0A=0A=0A      
--0-2048302862-1230262392=:66717
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV><FONT face="comic sans ms" color=#4040ff><EM>more&nbsp;from the good old days.&nbsp; LMAO&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Saw a very young Leo&nbsp;Kottke for exactly $1.00 at Gerorge Mason&nbsp;college in 1973.&nbsp;&nbsp; Sat on the gym&nbsp;floor and was mesmorized by his playing and laughed out loud at his in between song&nbsp;mumblings.&nbsp;&nbsp;&nbsp; Now concerts cost as much as a used lap top computer..&nbsp;........&nbsp;&nbsp;&nbsp;&nbsp; LOL</EM></FONT>&nbsp;</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Thu, 12/25/08, Rev Fever <I>&lt;revfever@ubergadget.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid"><BR>From: Rev Fever &lt;revfever@ubergadget.com&gt;<BR>Subject: Re: guitar drone music (Fahey)<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Thursday, December 25, 2008, 10:13 PM<BR><BR>
<DIV id=yiv1648940192>
<DIV>
<BLOCKQUOTE type="cite">
<DIV style="MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
<DIV style="MARGIN: 0px">-----Original Message-----</DIV>
<BLOCKQUOTE type="cite">
<DIV style="MARGIN: 0px">From: Marc Marshall &lt;<A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=agentlesoul2004@yahoo.com" target=_blank rel=nofollow ymailto="mailto:agentlesoul2004@yahoo.com">agentlesoul2004@yahoo.com</A>&gt;</DIV>
<DIV style="MARGIN: 0px">Sent: Dec 25, 2008 8:38 PM</DIV>
<DIV style="MARGIN: 0px">To: <A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=Loopers-Delight@loopers-delight.com" target=_blank rel=nofollow ymailto="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</A></DIV>
<DIV style="MARGIN: 0px">Subject: Re: guitar drone music</DIV>
<DIV style="MIN-HEIGHT: 14px; MARGIN: 0px"><BR></DIV>
<DIV style="MIN-HEIGHT: 14px; MARGIN: 0px"><SPAN class=Apple-style-span>I grew up in the time and area of&nbsp;John Fahey&nbsp;(greater Washington DC area circa 1960's and 70's)&nbsp;&nbsp; for what it is worth, I never saw him berate the audience though being a notorious drunk that is very possible;&nbsp;unlike many functioning alcoholics it didn't seem to effect his playing all that much, at least the many times I saw him. He was brilliant the times I saw him in spite of being drunk.&nbsp; It DID effect his ability to tune and re tune his guitar to the different tunings.&nbsp;</SPAN></DIV>
<DIV style="MARGIN: 0px">He once asked if anyone in the audience could tune his guitar, and admitted being too drunk to;&nbsp;I spoke up and tuned it and he then proceeded to play, laugh, and tell me I was no better than him at tuning.&nbsp; I guess you had to be there!!&nbsp; LOL</DIV></BLOCKQUOTE></BLOCKQUOTE><BR></DIV>
<DIV>Damn! That's a beautiful story! &nbsp;Thanx for sharing.</DIV>
<DIV><BR></DIV>
<DIV>I am still kicking myself for NOT making the effort to go see Fahey here in Portland, at the (long gone) Medicine Hat Gallery a small few years ago.&nbsp;</DIV>
<DIV>It was one of his last shows.&nbsp;(or WAS his last?) He passed on not too long down the road after that.(he also lived in Oregon and not all that far from Portland, as I recall?)</DIV>
<DIV>I guess I thought he'd always be around. BIG mistake! &nbsp;Same goes for ANYONE.&nbsp;</DIV>
<DIV><BR></DIV>
<DIV>As for the Fahey non-experience,&nbsp;guess I should have adhered to my even longer-time motto which is "Love 'em while ya got 'em!". &nbsp;But, that time, I screwed up.&nbsp;</DIV>
<DIV>However, I did learn a lesson though to try to not allow something like that to ever happen again, if at all possible. &nbsp; &nbsp;So far....so good.... :-)</DIV>
<DIV><BR></DIV>
<DIV>All the best,</DIV>
<DIV>Rev Fever</DIV>
<DIV><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV><A href="http://www.spiritone.com/~rvfever/" target=_blank rel=nofollow>http://www.spiritone.com/~rvfever/</A></DIV></SPAN></DIV><BR></DIV></BLOCKQUOTE></td></tr></table><br>

      
--0-2048302862-1230262392=:66717--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 03:47:29 2008
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 sauce, secret goo)
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holy cow, a dozen of Devi's! Amazing. I'd love to do side-by-sides. 
Thanks for the reviews, great to get some personal insight into those 
pedals. I forgot that I sent her a couple tracks - numbers 5 and 12 of 
my miniatures (http://www.swanwelder.com/projects/miniatures.htm) 
feature the TBD, albeit at a relatively "sane" setting.

The SuperOscilloFuzz has me salivating...I love switches and 
unpredictability. And joysticks too - if I feel the need for more fuzz 
(?), I might get a Mangler first.

Mech, your set at the 07 loopfest was one of my favorites, you GOTTA do 
some recording.!

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


> Heheheheh!  Devi's stuff rox!

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Beautiful Stephen, thanks much and many more happy days to you and yours!

Jeff

----- Original Message ----- 
From: "SP Goodman" <spgoodman@earthlight.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 25, 2008 9:56 PM
Subject: Christmas V-Card 2008


> Well, version 1 anyhoo.  Having too much fun working on a version of 
> "Silent
> Night"...
>
> Best to all!
>
> http://www.vimeo.com/2632799
>
> SP Goodman
> *
> http://www.vimeo.com/spgoodman
> http://www.last.fm/music/Stephen+Goodman
>


--------------------------------------------------------------------------------



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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 04:25:34 2008
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oh no -here we go...what is really D R O N E ?
I may be an extremist but to me-ya cant change chords-notes or timbre and still call it drone-most of the bands on that list dont really do the drone-just long chords for a while-is that drone?
nope
as the musician James Plotkin said in '04:
"a drone is a static sonic occurance, meaning a constant, unchanging event of sound"
thats what i'm talkin about and adhere to-

>S T A N O S A U R<
my reference point will always be an obscure cd called 'the tambouras of Pandit Pran Nath'
by LaMonte Young and Marian Zazeela-two tambouras going for 73 minutes-
more beautiful music i will never hear.


 Not sure if Jesu really is drone -


 
>Daryl Shawn
>www.swanwelder.com
>www.chinapaintingmusic.com
>
>> hi-
>>
>> for guitar drone music, you can't go wrong with the following albums:
>>
>> 1. fear falls burning - he spoke in dead tongues
>> 2. sunn o))) - grimm robe demos
>> 3. earth - earth 2
>> 4. boris - absolutego
>> 5. bowery electric - bowery electric
>> 5. eluvium - talk amongst the trees
>> 6. jesu - jesu
>> 7. labradford - prazision lp
>> 8. lab report - figure x-71
>> 9. lovesliescrushing - glissceule
>> 10. lustmord - juggernaut
>> 11. main - firmament
>> 12. sunn o))) & boris - altar
>> 13. windy & carl - antarctica bliss out
>> 14. zoviet france - the decriminalization of country music
>> 15. the valley of wolves - blackness poured from the sky, and darkened 
>> the earth...
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 04:35:33 2008
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From: J Johans <parispro00@hotmail.com>
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Subject: bidule question
Date: Thu, 25 Dec 2008 22:35:31 -0600
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sorry=2C im waiting  to be allowed into the bidule forumn (heaven help them=
)
=20
im just trying to connect my midi keyboard to an instrument inside bidule s=
o i can trigger tones=20
=20
when i go to choose MIDI IN under midi devices bidule=2C i see my fireface =
midi in - but it wont let me drag it to the workspace..?=20
it looks normal=2C no italics - but wont let me use it -
=20
this is how i access the midi IN on my audio interface=2C right? keyboard p=
lugged into midi in=2C then in bidule...midi in ---> instrument midi in
=20
under bidule/midi devices/input - there is only 1 choice=2C my fireface in =
- and it wont let me use it
under bidule/midi devided/output - there are 2 choices=2C my fireface and t=
hen microsoft wavetable syth - the MS one i can drop onto the workspace...b=
ut not the fireface
=20
hope im missing something silly=2C any ideas?
thanks
fro
_________________________________________________________________
Send e-mail faster without improving your typing skills.
http://windowslive.com/online/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_speed=
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{
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<body class=3D'hmmessage'>
sorry=2C im waiting&nbsp=3B to be allowed into the bidule forumn (heaven he=
lp them)<BR>
&nbsp=3B<BR>
im just trying to connect my midi keyboard to an instrument inside bidule s=
o i can trigger tones <BR>
&nbsp=3B<BR>
when i go to choose MIDI IN&nbsp=3Bunder midi devices bidule=2C i see my fi=
reface midi in - but it wont let me drag it to the workspace..? <BR>
it looks normal=2C no italics - but wont let me use it -<BR>
&nbsp=3B<BR>
this is how i access the midi IN on my audio interface=2C right? keyboard p=
lugged into midi in=2C then in bidule...midi in ---&gt=3B instrument midi i=
n<BR>
&nbsp=3B<BR>
under bidule/midi devices/input - there is only 1 choice=2C my fireface in =
- and it wont let me use it<BR>
under bidule/midi devided/output - there are 2 choices=2C my fireface and t=
hen microsoft wavetable syth - the MS one i can drop onto the workspace...b=
ut not the fireface<BR>
&nbsp=3B<BR>
hope im missing something silly=2C any ideas?<BR>
thanks<BR>
fro<BR><br /><hr />Send e-mail faster without improving your typing skills.=
 <a href=3D'http://windowslive.com/online/hotmail?ocid=3DTXT_TAGLM_WL_hotma=
il_acq_speed_122008' target=3D'_new'>Get your Hotmail=AE account.</a></body=
>
</html>=

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 04:50:37 2008
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Marc Marshall wrote:
" May I add in a similar vein:
 
Spacemen 3   any of the early ones
Flying Saucer Attack   ditto
Jessamine    anything is good IMHO
Seefeel      Polyfusia   and Quique"


Yeah,  I really love Seefeel.      Also,  though they do have vocals I also
love the incredibly minimalist and melancholy group Low.

I still reiterate though, that with so many people doing different 
stylistic things to mine
the periphery of this subject (droney guitar music) that
Erdem shoul definitely find out from his record label exactly the kind 
of style they
want from him.   

If they are asking him for a specific style of music then they probably 
have an agenda for
what they want.

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 04:56:45 2008
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Date: Thu, 25 Dec 2008 20:56:44 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: RE:  Guitar drone music
To: Loopers-Delight@loopers-delight.com
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ah yes, the business of music.=A0=A0=A0 How depressing!!=A0=A0 Agenda's ind=
eed!!!
tis a shame the truely humane Steve Albini is but=A0one=A0honest soul up ag=
ainst the empire of the biz.=A0=A0=A0 And though he doesn't have=A0seem to=
=A0be into looping, ambient,=A0or electronic music in general or at all fro=
m what I know of him, he WOULD record ANYBODY=A0who travels to=A0Chicago to=
 be recorded by him and his state of the art ANALOG set up and=A0do his usu=
al 100% professional job.
=A0
=A0=A0=A0=20

--- On Thu, 12/25/08, Rick Walker <looppool@cruzio.com> wrote:


From: Rick Walker <looppool@cruzio.com>
Subject: RE: Guitar drone music
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Date: Thursday, December 25, 2008, 11:50 PM


Marc Marshall wrote:
" May I add in a similar vein:

Spacemen 3=A0=A0=A0any of the early ones
Flying Saucer Attack=A0=A0=A0ditto
Jessamine=A0 =A0 anything is good IMHO
Seefeel=A0 =A0 =A0 Polyfusia=A0=A0=A0and Quique"


Yeah,=A0 I really love Seefeel.=A0 =A0 =A0 Also,=A0 though they do have voc=
als I also
love the incredibly minimalist and melancholy group Low.

I still reiterate though, that with so many people doing different stylisti=
c things to mine
the periphery of this subject (droney guitar music) that
Erdem shoul definitely find out from his record label exactly the kind of s=
tyle they
want from him.=A0=A0=A0
If they are asking him for a specific style of music then they probably hav=
e an agenda for
what they want.

=0A=0A=0A      
--0-748520971-1230267404=:56177
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV>ah yes, the business of music.&nbsp;&nbsp;&nbsp; How depressing!!&nbsp;&nbsp; Agenda's indeed!!!</DIV>
<DIV>tis a shame the truely humane Steve Albini is but&nbsp;one&nbsp;honest soul up against the empire of the biz.&nbsp;&nbsp;&nbsp; And though he doesn't have&nbsp;seem to&nbsp;be into looping, ambient,&nbsp;or electronic music in general or at all from what I know of him, he WOULD record ANYBODY&nbsp;who travels to&nbsp;Chicago to be recorded by him and his state of the art ANALOG set up and&nbsp;do his usual 100% professional job.</DIV>
<DIV>&nbsp;</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Thu, 12/25/08, Rick Walker <I>&lt;looppool@cruzio.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid"><BR>From: Rick Walker &lt;looppool@cruzio.com&gt;<BR>Subject: RE: Guitar drone music<BR>To: "LOOPERS DELIGHT (posting)" &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Thursday, December 25, 2008, 11:50 PM<BR><BR>
<DIV class=plainMail>Marc Marshall wrote:<BR>" May I add in a similar vein:<BR><BR>Spacemen 3&nbsp;&nbsp;&nbsp;any of the early ones<BR>Flying Saucer Attack&nbsp;&nbsp;&nbsp;ditto<BR>Jessamine&nbsp; &nbsp; anything is good IMHO<BR>Seefeel&nbsp; &nbsp; &nbsp; Polyfusia&nbsp;&nbsp;&nbsp;and Quique"<BR><BR><BR>Yeah,&nbsp; I really love Seefeel.&nbsp; &nbsp; &nbsp; Also,&nbsp; though they do have vocals I also<BR>love the incredibly minimalist and melancholy group Low.<BR><BR>I still reiterate though, that with so many people doing different stylistic things to mine<BR>the periphery of this subject (droney guitar music) that<BR>Erdem shoul definitely find out from his record label exactly the kind of style they<BR>want from him.&nbsp;&nbsp;&nbsp;<BR>If they are asking him for a specific style of music then they probably have an agenda for<BR>what they want.<BR><BR></DIV></BLOCKQUOTE></td></tr></table><br>

      
--0-748520971-1230267404=:56177--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 05:14:53 2008
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From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <494C7A44.8020200@cruzio.com> <588ce11d0812192138jf023d7bg1d720f1ecd0eefca@mail.gmail.com> <494CD2CB.9030902@tiscali.co.uk> <9ab0c76f0812200344v139fd13eud1209f87081eef58@mail.gmail.com> <000f01c962a9$f5debc60$0202a8c0@YOUR08D5303051> <p06240801c578f4c26bc9@[10.0.1.4]> <000501c966bb$7931e3c0$0302a8c0@YOUR08D5303051> <p06240803c579c8fdb155@[10.0.1.2]>
Subject: Re: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special sauce, secret goo)
Date: Fri, 26 Dec 2008 00:08:05 -0500
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I ran across this blog, looks very interesting!  http://www.getlofi.com/ sI 
did a little circut bending back in the "day".
Tip: Only circut bend things when they on on battery power! No ac Mech!! :)

J

----- Original Message ----- 
From: "Mech" <mech@m3ch.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 25, 2008 8:44 PM
Subject: Re: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special 
sauce, secret goo)


> At 1:04 PM -0500 12/25/08, Jeff Duke wrote:
>>Mech, thanks for the heads up on Devis Forum, I wanted to get into
>>DIY and there is a great section on this very subject. (Soldering
>>irons heating up)
>
> I agree!  I really want to get into the same territory.  But every
> time I heat up a soldering iron, I either hurt myself or set
> something on fire.  :(
>
> You should also try going over to Beavis Audio (
> http://www.beavisaudio.com/ ).  Dano -- the guy who runs it -- is
> really cool, and he puts up a crapload of basic DIY stuff that's
> great to have as a reference.
>
> In addition, this looks really interesting for somebody just starting
> out: http://www.beavisaudio.com/bboard/ (not to mention it may keep
> me from burning my house down).
>
>>I think a Peep clone could be great on lots o' stuff!
>
> Oh yeah.  I've got a Peep and a PeepPeep (2x in one box), but the
> PeepPlug looks really intriguing too.  You've probably already found
> them, but I think the Peep schems are up on the DIY section of the
> Devi board too, if you want to build your own.
>
> The one thing I keep meaning to do (but forgetting) is to run one of
> these into the expression input on my FC-300 pedal, to see how well
> MIDI control might work with a photo eye.  Lots of possibilities
> there, if it'll function.
>
>>And all the best to all of you out there in looper land on this
>>beautiful sunny Christmas in Florida, USA! 83 degrees today. sheesh!
>
> *sigh* That would actually be nice.  Half my house doesn't have heat
> yet, and even though we're only in the 40's-50's outside, it's still
> pretty chilly downstairs.  :P
>
>>New little glitchy video thingy at http://www.vimeo.com/2622319
>
> Kore ga daisuki des yo!!! (I like this a lot!)  Looking forward to
> seeing some more!  :)
>
> --m.
> -- 
> _____
> "Image is blasphemy. Text is heresy. The spoken word is a lie."
> X  <--- you are here.
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
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9:40 AM

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Subject: Re: guitar drone music
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I found this by Young http://www.ubu.com/sound/young.html on the
http://www.ubu.com/ site. This page is amazing!

Jeff

----- Original Message ----- 
From: <stanitarium@earthlink.net>
To: <Loopers-Delight@loopers-delight.com>
Sent: Thursday, December 25, 2008 11:25 PM
Subject: Re: guitar drone music


> oh no -here we go...what is really D R O N E ?
> I may be an extremist but to me-ya cant change chords-notes or timbre and 
> still call it drone-most of the bands on that list dont really do the 
> drone-just long chords for a while-is that drone?
> nope
> as the musician James Plotkin said in '04:
> "a drone is a static sonic occurance, meaning a constant, unchanging event 
> of sound"
> thats what i'm talkin about and adhere to-
>
>>S T A N O S A U R<
> my reference point will always be an obscure cd called 'the tambouras of 
> Pandit Pran Nath'
> by LaMonte Young and Marian Zazeela-two tambouras going for 73 minutes-
> more beautiful music i will never hear.
>
>
> Not sure if Jesu really is drone -
>
>
>
>>Daryl Shawn
>>www.swanwelder.com
>>www.chinapaintingmusic.com
>>
>>> hi-
>>>
>>> for guitar drone music, you can't go wrong with the following albums:
>>>
>>> 1. fear falls burning - he spoke in dead tongues
>>> 2. sunn o))) - grimm robe demos
>>> 3. earth - earth 2
>>> 4. boris - absolutego
>>> 5. bowery electric - bowery electric
>>> 5. eluvium - talk amongst the trees
>>> 6. jesu - jesu
>>> 7. labradford - prazision lp
>>> 8. lab report - figure x-71
>>> 9. lovesliescrushing - glissceule
>>> 10. lustmord - juggernaut
>>> 11. main - firmament
>>> 12. sunn o))) & boris - altar
>>> 13. windy & carl - antarctica bliss out
>>> 14. zoviet france - the decriminalization of country music
>>> 15. the valley of wolves - blackness poured from the sky, and darkened
>>> the earth...
>>
>


--------------------------------------------------------------------------------



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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 08:06:08 2008
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Subject: with sincere best wishes for us all; (the ultimate loop)
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"I bring you good news of a great joy =E2=80=A6 for to you is born this day=
 in the city of David a Saviour, who is Christ the Lord" (Lk 2:10-11)=20

Last night we heard once more the Angel=E2=80=99s message to the shepherds,=
 and we experienced anew the atmosphere of that holy Night, Bethlehem Night=
, when the Son of God became man, was born in a lowly stable and dwelt amon=
g us.=20

On this solemn day, the Angel=E2=80=99s proclamation rings out once again, =
inviting us, the men and women of the third millennium, to welcome the Savi=
our. May the people of today=E2=80=99s world not hesitate to let him enter =
their homes, their cities, their nations, everywhere on earth! In the mille=
nnium just past, and especially in the last centuries, immense progress was=
 made in the areas of technology and science.=20

Today we can dispose of vast material resources. But the men and women in o=
ur technological age risk becoming victims of their own intellectual and te=
chnical achievements, ending up in spiritual barrenness and emptiness of he=
art. That is why it is so important for us to open our minds and hearts to =
the Birth of Christ, this event of salvation which can give new hope to the=
 life of each human being.

Wake up, O man! For your sake God became man" (Saint Augustine, Sermo, 185.=
 Wake up, O men and women of the third millennium!

At Christmas, the Almighty becomes a child and asks for our help and protec=
tion. His way of showing that he is God challenges our way of being human.=
=20

By knocking at our door, he challenges us and our freedom; he calls us to e=
xamine how we understand and live our lives. The modern age is often seen a=
s an awakening of reason from its slumbers, humanity=E2=80=99s enlightenmen=
t after an age of darkness. Yet without the light of Christ, the light of r=
eason is not sufficient to enlighten humanity and the world.=20

For this reason, the words of the Christmas Gospel: "the true Light that en=
lightens every man was coming into this world" (Jn 1:9) resound now more th=
an ever as a proclamation of salvation. "It is only in the mystery of the W=
ord made flesh that the mystery of humanity truly becomes clear" (Gaudium e=
t Spes, 22). The Church does not tire of repeating this message of hope rea=
ffirmed by the Second Vatican Council, which concluded forty years ago.

Men and women of today, humanity come of age yet often still so frail in mi=
nd and will, let the Child of Bethlehem take you by the hand! Do not fear; =
put your trust in him! The life-giving power of his light is an incentive f=
or building a new world order based on just ethical and economic relationsh=
ips.=20

May his love guide every people on earth and strengthen their common consci=
ousness of being a "family" called to foster relationships of trust and mut=
ual support. A united humanity will be able to confront the many troubling =
problems of the present time: from the menace of terrorism to the humiliati=
ng poverty in which millions of human beings live, from the proliferation o=
f weapons to the pandemics and the environmental destruction which threaten=
s the future of our planet.

May the God who became man out of love for humanity strengthen all those in=
 Africa who work for peace, integral development and the prevention of frat=
ricidal conflicts, for the consolidation of the present, still fragile poli=
tical transitions, and the protection of the most elementary rights of thos=
e experiencing tragic humanitarian crises, such as those in Darfur and in o=
ther regions of central Africa. May he lead the peoples of Latin America to=
 live in peace and harmony. May he grant courage to people of good will in =
the Holy Land, in Iraq, in Lebanon, where signs of hope, which are not lack=
ing, need to be confirmed by actions inspired by fairness and wisdom; may h=
e favour the process of dialogue on the Korean peninsula and elsewhere in t=
he countries of Asia, so that, by the settlement of dangerous disputes, con=
sistent and peaceful conclusions can be reached in a spirit of friendship, =
conclusions which their peoples expectantly await.

At Christmas we contemplate God made man, divine glory hidden beneath the p=
overty of a Child wrapped in swaddling clothes and laid in a manger; the Cr=
eator of the Universe reduced to the helplessness of an infant. Once we acc=
ept this paradox, we discover the Truth that sets us free and the Love that=
 transforms our lives. On Bethlehem Night, the Redeemer becomes one of us, =
our companion along the precarious paths of history. Let us take the hand w=
hich he stretches out to us: it is a hand which seeks to take nothing from =
us, but only to give.

With the shepherds let us enter the stable of Bethlehem beneath the loving =
gaze of Mary, the silent witness of his miraculous birth. May she help us t=
o experience the happiness of Christmas, may she teach us how to treasure i=
n our hearts the mystery of God who for our sake became man; and may she he=
lp us to bear witness in our world to his truth, his love and his peace.


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From: "Travis Hartnett" <travishartnett@gmail.com>
To: LD <Loopers-Delight@loopers-delight.com>
Subject: Re: guitar drone music
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Oh, that's a good one.  The bits where you hear the truck go by outdoors
always catch me offguard.

TH

On Thu, Dec 25, 2008 at 8:25 PM, <stanitarium@earthlink.net> wrote:

>
>
> >S T A N O S A U R<
> my reference point will always be an obscure cd called 'the tambouras of
> Pandit Pran Nath'
> by LaMonte Young and Marian Zazeela-two tambouras going for 73 minutes-
> more beautiful music i will never hear.
>
>

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Oh, that&#39;s a good one.&nbsp; The bits where you hear the truck go by outdoors always catch me offguard.<br><br>TH<br><br><div class="gmail_quote">On Thu, Dec 25, 2008 at 8:25 PM,  <span dir="ltr">&lt;<a href="mailto:stanitarium@earthlink.net">stanitarium@earthlink.net</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><br>
<br>
&gt;S T A N O S A U R&lt;<br>
my reference point will always be an obscure cd called &#39;the tambouras of Pandit Pran Nath&#39;<br>
by LaMonte Young and Marian Zazeela-two tambouras going for 73 minutes-<br>
more beautiful music i will never hear.<br><br></blockquote></div><br>

------=_Part_112215_10546123.1230280893625--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 09:49:29 2008
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Just saw this listing on Bay Area Craigslist.

It's two AKG microphones
C3000 and a C1000s together in a case.
for a measly $225  USD.

http://sfbay.craigslist.org/eby/msg/969639856.html

or write to:     guitar6913(at)gmail.com


The C1000s is one of the best live percussion mics I know of
(due to a plastic focusing capsule that allows this sensitive
condenser microphone to have the lowest feedback possible in
a live setting).    Adding the C3000 for recording sessions
for the price of a single C1000s is just a screaming good deal.
After hearing them at the wonderful Freight and Salvage (always
superlative sound at this folk/acoustic club in Berkeley) I went
out and bought two of them and have used them ever since.

If you have the bread,  don't think twice on this one:   buy it.........
you'll thank me.

Rick Walker

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 10:06:34 2008
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Date: Fri, 26 Dec 2008 11:06:33 +0100
From: "Per Boysen" <perboysen@gmail.com>
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Subject: Re: bidule question
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Start by doing a double check. Does the two FireFace MIDI input ports
show up in other applications? Do you have the latest driver by RME?
Do you have the latest version of Bidule?

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Fri, Dec 26, 2008 at 5:35 AM, J Johans <parispro00@hotmail.com> wrote:
> sorry, im waiting  to be allowed into the bidule forumn (heaven help them)
>
> im just trying to connect my midi keyboard to an instrument inside bidule so
> i can trigger tones
>
> when i go to choose MIDI IN under midi devices bidule, i see my fireface
> midi in - but it wont let me drag it to the workspace..?
> it looks normal, no italics - but wont let me use it -
>
> this is how i access the midi IN on my audio interface, right? keyboard
> plugged into midi in, then in bidule...midi in ---> instrument midi in
>
> under bidule/midi devices/input - there is only 1 choice, my fireface in -
> and it wont let me use it
> under bidule/midi devided/output - there are 2 choices, my fireface and then
> microsoft wavetable syth - the MS one i can drop onto the workspace...but
> not the fireface
>
> hope im missing something silly, any ideas?
> thanks
> fro
>
> ________________________________
> Send e-mail faster without improving your typing skills. Get your Hotmail(R)
> account.

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Slightly belated, but best wishes to you all for Christmas and anything else 
you may be celebrating.

Happy looping in 2009.

Steve
www.stevemoyes.org.uk
www.creativemusic.blip.tv/ 


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I've had the Liverpool for a while now and just can't believe how much it sounds like a Vox. Great for clean or slightly dirty, Voxish tones. Tech 21 makes great stuff. I love their delay too.

=-) PJ


-----Original Message-----
From: L.Angulo <labaloops@yahoo.com>
To: Loopers-Delight@loopers-delight.com
Sent: Thu, 25 Dec 2008 5:02 pm
Subject: RE: distortion,overdrive,fuzz,crunch



what about the tech 21 sans amp character series,i am suprised no comments on 
those yet?
http://www.tech21nyc.com/character_series.html

www.myspace.com/luisangulocom


--- On Tue, 12/23/08, o.malhomme@laposte.net <o.malhomme@laposte.net> wrote:

> From: o.malhomme@laposte.net <o.malhomme@laposte.net>
> Subject: RE: distortion,overdrive,fuzz,crunch
> To: Loopers-Delight@loopers-delight.com
> Date: Tuesday, December 23, 2008, 8:14 AM
> Regarding this secret weapons, one must keep in mind that a
> special recipe for the public can be a very unspecial to us.
> A example: the Ebow.
> Everyone seems to think I come from Mars if I use one while
> there's nothing special to it (I mean, I bet 99% of the
> guitar players of this list have one...).
> 
> Now, we have the tools that a remade to make anyone frown
> (VG-8, VG-99 in my case, but  designed for sound mangling
> and designing) and basic tools to add a special little
> something...
> 
> I like a old fuzz by Ibanez (emerald green one). Like the
> fact that the not seems like it swells...
> 
> I have a Robert Keeley modified DS-1 (also a SD-1 but I
> don't use it that much. Overdrive is a very different
> beast...)
> I have a TubeMan which is more interesting a crunch pedal
> than a n overdrive..
> I TOTALLY DEPEND on a multicomp EBS. I know it is
> supposedly made for bass but it inflates any guitar and
> sound gorgeous.
> 
> This is the very epitome of secret goo.
> I mean, It doesn't really change the sound, just it
> sounds way better with it. Transparent compression, not
> overdone...
> 
> Then I have a Morley Wah 2 that behaves weirdly. For some
> reasons, engaged it distort. It has a very wide wah effect,
> so i use it for filtering and filter sweep effets. I thought
> of repairing it  but I just like it's distortion,
> unusual.
> 
> Olivier


      



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I've had the Liverpool for a while now and just can't believe how much it sounds like a Vox. Great for clean or slightly dirty, Voxish tones. Tech 21 makes great stuff. I love their delay too.<br>
<br>
=-) PJ<br>
<br>
<br>
-----Original Message-----<br>
From: L.Angulo &lt;labaloops@yahoo.com&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Thu, 25 Dec 2008 5:02 pm<br>
Subject: RE: distortion,overdrive,fuzz,crunch<br>
<br>


<div id=AOLMsgPart_0_133f3179-a07c-4466-b86b-f8d13fc67451 style="FONT-SIZE: 12px; MARGIN: 0px; COLOR: #000; FONT-FAMILY: Tahoma, Verdana, Arial, Sans-Serif; BACKGROUND-COLOR: #fff"><PRE style="FONT-SIZE: 9pt"><TT>what about the tech 21 sans amp character series,i am suprised no comments on 
those yet?
<A href="http://www.tech21nyc.com/character_series.html" target=_blank>http://www.tech21nyc.com/character_series.html</A>

<A href="http://www.myspace.com/luisangulocom" target=_blank>www.myspace.com/luisangulocom</A>


--- On Tue, 12/23/08, <A href="mailto:o.malhomme@laposte.net">o.malhomme@laposte.net</A> &lt;<A href="mailto:o.malhomme@laposte.net">o.malhomme@laposte.net</A>&gt; wrote:

&gt; From: <A href="mailto:o.malhomme@laposte.net">o.malhomme@laposte.net</A> &lt;<A href="mailto:o.malhomme@laposte.net">o.malhomme@laposte.net</A>&gt;
&gt; Subject: RE: distortion,overdrive,fuzz,crunch
&gt; To: <A href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</A>
&gt; Date: Tuesday, December 23, 2008, 8:14 AM
&gt; Regarding this secret weapons, one must keep in mind that a
&gt; special recipe for the public can be a very unspecial to us.
&gt; A example: the Ebow.
&gt; Everyone seems to think I come from Mars if I use one while
&gt; there's nothing special to it (I mean, I bet 99% of the
&gt; guitar players of this list have one...).
&gt; 
&gt; Now, we have the tools that a remade to make anyone frown
&gt; (VG-8, VG-99 in my case, but  designed for sound mangling
&gt; and designing) and basic tools to add a special little
&gt; something...
&gt; 
&gt; I like a old fuzz by Ibanez (emerald green one). Like the
&gt; fact that the not seems like it swells...
&gt; 
&gt; I have a Robert Keeley modified DS-1 (also a SD-1 but I
&gt; don't use it that much. Overdrive is a very different
&gt; beast...)
&gt; I have a TubeMan which is more interesting a crunch pedal
&gt; than a n overdrive..
&gt; I TOTALLY DEPEND on a multicomp EBS. I know it is
&gt; supposedly made for bass but it inflates any guitar and
&gt; sound gorgeous.
&gt; 
&gt; This is the very epitome of secret goo.
&gt; I mean, It doesn't really change the sound, just it
&gt; sounds way better with it. Transparent compression, not
&gt; overdone...
&gt; 
&gt; Then I have a Morley Wah 2 that behaves weirdly. For some
&gt; reasons, engaged it distort. It has a very wide wah effect,
&gt; so i use it for filtering and filter sweep effets. I thought
&gt; of repairing it  but I just like it's distortion,
&gt; unusual.
&gt; 
&gt; Olivier


      

</TT></PRE></div>
<!-- end of AOLMsgPart_0_133f3179-a07c-4466-b86b-f8d13fc67451 --><div id='MAILCIAMB035-5bc64954afc3373' class='aol_ad_footer'><BR/><FONT style="color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style="MARGIN-TOP: 10px"></HR>Listen to 350+ music, sports, & news radio stations &#150; including songs for the holidays &#150; FREE while you browse. <a href="http://toolbar.aol.com/aolradio/download.html?ncid=emlweusdown00000013">Start Listening Now</a>! </div>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 11:26:32 2008
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From: o.malhomme@laposte.net <o.malhomme@laposte.net>
Subject: Drones
Date: Fri, 26 Dec 2008 12:26:33 +0100
To: Loopers-Delight@loopers-delight.com
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I wouldn't be that extremist...

I would consider very slowly changing texture a drone too.
Besides, it is somthing I like to do... Like having a same note or=20
chord with plenty of instruments playing it different ways, passing=20
notes one to another resulting in slowly evolving texture.

But you are right :-) you mau be an extremist ;-)

Now you could go as far as changing note after note a chord resulting=20
in something new, after a while....

Olivier

Le 26 d=E9c. 08, =E0 11:19, =
Loopers-Delight-d-request@loopers-delight.com a=20
=E9crit :

> oh no -here we go...what is really D R O N E ?
> I may be an extremist but to me-ya cant change chords-notes or timbre=20=

> and still call it drone-most of the bands on that list dont really do=20=

> the drone-just long chords for a while-is that drone?
> nope
> as the musician James Plotkin said in '04:
> "a drone is a static sonic occurance, meaning a constant, unchanging=20=

> event of sound"
> thats what i'm talkin about and adhere to-=

--Apple-Mail-11-728006504
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<fontfamily><param>Lucida Grande</param>I wouldn't be that extremist...


I would consider very slowly changing texture a drone too.

Besides, it is somthing I like to do... Like having a same note or
chord with plenty of instruments playing it different ways, passing
notes one to another resulting in slowly evolving texture.


But you are right :-) you mau be an extremist ;-)


Now you could go as far as changing note after note a chord resulting
in something new, after a while....


Olivier

</fontfamily>

<fontfamily><param>Lucida Grande</param>Le</fontfamily>
<fontfamily><param>Lucida Grande</param>26</fontfamily>
<fontfamily><param>Lucida Grande</param>d=E9c.</fontfamily>
<fontfamily><param>Lucida Grande</param>08,</fontfamily>
<fontfamily><param>Lucida Grande</param>=E0</fontfamily>
<fontfamily><param>Lucida Grande</param>11:19,</fontfamily>
<fontfamily><param>Lucida =
Grande</param>Loopers-Delight-d-request@loopers-delight.com</fontfamily>
<fontfamily><param>Lucida Grande</param>a</fontfamily>
<fontfamily><param>Lucida Grande</param>=E9crit</fontfamily>
<fontfamily><param>Lucida Grande</param>:


<excerpt>oh no -here we go...what is really D R O N E ?

I may be an extremist but to me-ya cant change chords-notes or timbre
and still call it drone-most of the bands on that list dont really do
the drone-just long chords for a while-is that drone?

nope

as the musician James Plotkin said in '04:

"a drone is a static sonic occurance, meaning a constant, unchanging
event of sound"

thats what i'm talkin about and adhere to-</excerpt></fontfamily>=

--Apple-Mail-11-728006504--


From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 12:10:35 2008
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Subject: Corrected Christmas Thingie!
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Oops.  I woke today to find my vid missing.  Must've been too much Jingle!  

http://www.vimeo.com/2635145

S.

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 12:13:06 2008
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http://www.youtube.com/watch?v=_mBKYjyLGQo

This thing is so inventive...................wow!!!!!

I found this by browsing that wonderful

http://www.getlofi.com/?cat=16

 site that  was just recommended.   I just spent an hour clicking on 
links and watching
movies.  I'm so turned on by the creativity that exists there.

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 12:19:13 2008
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hi-

> Not sure if Jesu really is drone -

ok, i would agree, i probably should have picked a Final album (i will  
readily admit that i worship at the altar of justin broadrick), but  
Jesu is just so much better. and the self titled album is heavier on  
the drones than the rest. but yeah i guess it's not really a true  
"drone" album.

also, i second the seefeel and oren ambarchi albums, though i consider  
those more electronic than "guitar drone"...but those are some  
excellent artists!

- tyler / battery cage
===============



--Apple-Mail-2-731158984
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">hi-<br><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: Verdana; font-size: 13px; 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; ">Not sure if Jesu really is drone =
-</span></blockquote></div><br><div>ok, i would agree, i probably should =
have picked a Final album (i will readily admit that i worship at the =
altar of justin broadrick), but Jesu is just so much better. and the =
self titled album is heavier on the drones than the rest. but yeah i =
guess it's not really a true "drone" =
album.</div><div><br></div><div>also, i second the seefeel and oren =
ambarchi albums, though i consider those more electronic than "guitar =
drone"...but those are some excellent =
artists!</div><div><br></div><div>- tyler / battery =
cage</div><div>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D</div><div><br=
></div><div><br></div></body></html>=

--Apple-Mail-2-731158984--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 12:21:10 2008
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From: doc rossi <docittern@gmail.com>
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Subject: Re: Drones
Date: Fri, 26 Dec 2008 13:08:11 +0100
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--Apple-Mail-5-730505193
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There is a new CD from Coriscan cetera master Migheli Raffaelli - i =20
canti sparulati (on Amapola). It's a double, the first a remastering =20
of his 1983 LP A C=E9tara, the second a new one.  The earlier disk is =20=

solo, the new one with tamboura drone.  Both are completely improvised =20=

in the studio.

If you have trouble finding it, let me know and I'll see what I can do.

doc

http://cetrapublishing.com/artists/rossi/
http://www.myspace.com/docrossi
www.magnatune.com/artists/docrossi.html
rossi@cetrapublishing.com

cell: (+33) (0)6 20 60 61 52

On Dec 26, 2008, at 12:26 PM, o.malhomme@laposte.net wrote:

> I wouldn't be that extremist...
>
> I would consider very slowly changing texture a drone too.
> Besides, it is somthing I like to do... Like having a same note or =20
> chord with plenty of instruments playing it different ways, passing =20=

> notes one to another resulting in slowly evolving texture.
>
> But you are right :-) you mau be an extremist ;-)
>
> Now you could go as far as changing note after note a chord =20
> resulting in something new, after a while....
>
> Olivier
>
> Le 26 d=E9c. 08, =E0 11:19, Loopers-Delight-d-request@loopers-=20
> delight.com a =E9crit :
>
>> oh no -here we go...what is really D R O N E ?
>> I may be an extremist but to me-ya cant change chords-notes or =20
>> timbre and still call it drone-most of the bands on that list dont =20=

>> really do the drone-just long chords for a while-is that drone?
>> nope
>> as the musician James Plotkin said in '04:
>> "a drone is a static sonic occurance, meaning a constant, =20
>> unchanging event of sound"
>> thats what i'm talkin about and adhere to-


--Apple-Mail-5-730505193
Content-Type: text/html;
	charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">There is a new CD from Coriscan =
cetera master Migheli Raffaelli - i canti sparulati (on Amapola). It's a =
double, the first a remastering of his 1983 LP A C=E9tara, the second a =
new one. &nbsp;The earlier disk is solo, the new one with tamboura =
drone. &nbsp;Both are completely improvised in the =
studio.&nbsp;<div><br></div><div>If you have trouble finding it, let me =
know and I'll see what I can =
do.</div><div><br></div><div>doc</div><div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
'Goudy Old Style'; font-size: 16px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
'Goudy Old Style'; font-size: 16px; font-style: normal; font-variant: =
normal; font-weight: normal; letter-spacing: normal; line-height: =
normal; orphans: 2; 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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><div><a =
href=3D"http://cetrapublishing.com/artists/rossi/">http://cetrapublishing.=
com/artists/rossi/</a></div><div><a =
href=3D"http://www.myspace.com/docrossi">http://www.myspace.com/docrossi</=
a></div><div><a =
href=3D"http://www.magnatune.com/artists/docrossi.html">www.magnatune.com/=
artists/docrossi.html</a></div><div><a =
href=3D"mailto:rossi@cetrapublishing.com">rossi@cetrapublishing.com</a></d=
iv><div><br></div><div>cell:&nbsp;(+33) (0)6 20 60 61 =
52</div></div></div></span></div></span> </div><br><div><div>On Dec 26, =
2008, at 12:26 PM, <a =
href=3D"mailto:o.malhomme@laposte.net">o.malhomme@laposte.net</a> =
wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite"><span style=3D"font-family: Lucida Grande; ">I wouldn't be =
that extremist...<br><br>I would consider very slowly changing texture a =
drone too.<br>Besides, it is somthing I like to do... Like having a same =
note or chord with plenty of instruments playing it different ways, =
passing notes one to another resulting in slowly evolving =
texture.<br><br>But you are right :-) you mau be an extremist =
;-)<br><br>Now you could go as far as changing note after note a chord =
resulting in something new, after a =
while....<br><br>Olivier<br></span><br><span style=3D"font-family: =
Lucida Grande; ">Le</span> <span style=3D"font-family: Lucida Grande; =
">26</span> <span style=3D"font-family: Lucida Grande; ">d=E9c.</span> =
<span style=3D"font-family: Lucida Grande; ">08,</span> <span =
style=3D"font-family: Lucida Grande; ">=E0</span> <span =
style=3D"font-family: Lucida Grande; ">11:19,</span> <span =
style=3D"font-family: Lucida Grande; "><a =
href=3D"mailto:Loopers-Delight-d-request@loopers-delight.com">Loopers-Deli=
ght-d-request@loopers-delight.com</a></span> <span style=3D"font-family: =
Lucida Grande; ">a</span> <span style=3D"font-family: Lucida Grande; =
">=E9crit</span> <span style=3D"font-family: Lucida Grande; ">:<br><br> =
</span><blockquote type=3D"cite"><span style=3D"font-family: Lucida =
Grande; ">oh no -here we go...what is really D R O N E ?<br>I may be an =
extremist but to me-ya cant change chords-notes or timbre and still call =
it drone-most of the bands on that list dont really do the drone-just =
long chords for a while-is that drone?<br>nope<br>as the musician James =
Plotkin said in '04:<br>"a drone is a static sonic occurance, meaning a =
constant, unchanging event of sound"<br>thats what i'm talkin about and =
adhere =
to-</span></blockquote></blockquote></div><br></div></body></html>=

--Apple-Mail-5-730505193--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 12:35:27 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
References: <748087.56177.qm@web51508.mail.re2.yahoo.com>
Subject: Re: Guitar drone music
Date: Fri, 26 Dec 2008 14:35:22 +0200
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hey,

thanks to all for your help on the guitar drone subject. i have already =
finished half of the record. i was wondering if i am doing similar =
things or breaking some new ground. it seems that i have really =
discovered some new things and production techniques in the genre of =
guitardrone-ambient. i am very excited about the album! will be released =
fall 2009.

one exciting news. i have been involved with this project that was =
premiered in UK in november. i have been invited to contribute a piece =
to this project
/album along with the world's leading electroacoustic composers and =
sounds artists such as fennesz, christian zanesi, scanner, francis =
dhomont, david toop etc.

http://www.60project.com/

thanks and best.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu

  ----- Original Message -----=20
  From: Marc Marshall=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 26, 2008 6:56 AM
  Subject: RE: Guitar drone music




        ah yes, the business of music.    How depressing!!   Agenda's =
indeed!!!
        tis a shame the truely humane Steve Albini is but one honest =
soul up against the empire of the biz.    And though he doesn't have =
seem to be into looping, ambient, or electronic music in general or at =
all from what I know of him, he WOULD record ANYBODY who travels to =
Chicago to be recorded by him and his state of the art ANALOG set up and =
do his usual 100% professional job.

           =20


        --- On Thu, 12/25/08, Rick Walker <looppool@cruzio.com> wrote:


          From: Rick Walker <looppool@cruzio.com>
          Subject: RE: Guitar drone music
          To: "LOOPERS DELIGHT (posting)" =
<Loopers-Delight@loopers-delight.com>
          Date: Thursday, December 25, 2008, 11:50 PM


          Marc Marshall wrote:
          " May I add in a similar vein:

          Spacemen 3   any of the early ones
          Flying Saucer Attack   ditto
          Jessamine    anything is good IMHO
          Seefeel      Polyfusia   and Quique"


          Yeah,  I really love Seefeel.      Also,  though they do have =
vocals I also
          love the incredibly minimalist and melancholy group Low.

          I still reiterate though, that with so many people doing =
different stylistic things to mine
          the periphery of this subject (droney guitar music) that
          Erdem shoul definitely find out from his record label exactly =
the kind of style they
          want from him.  =20
          If they are asking him for a specific style of music then they =
probably have an agenda for
          what they want.

      =20


------=_NextPart_000_00A3_01C96767.2EFDFEE0
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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 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>hey,</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks to all for your help on the guitar drone subject. i have =
already=20
finished half of the record. i was wondering if i am doing similar =
things or=20
breaking some new ground. it seems that i have really discovered some =
new things=20
and&nbsp;production techniques in the genre of guitardrone-ambient. i am =
very=20
excited about the album! will be released fall 2009.</DIV>
<DIV>&nbsp;</DIV>
<DIV>one exciting news. i have been involved with this project that was=20
premiered in UK in november. i have been invited to contribute a piece =
to this=20
project</DIV>
<DIV>/album along with the world's leading electroacoustic composers and =
sounds=20
artists such as fennesz, christian zanesi, scanner, francis dhomont, =
david toop=20
etc.</DIV>
<DIV>&nbsp;</DIV>
<DIV><A =
href=3D"http://www.60project.com/">http://www.60project.com/</A></DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks and best.</DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR></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=3Dagentlesoul2004@yahoo.com=20
  href=3D"mailto:agentlesoul2004@yahoo.com">Marc Marshall</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> Friday, December 26, 2008 =
6:56=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> RE: Guitar drone =
music</DIV>
  <DIV><BR></DIV>
  <TABLE cellSpacing=3D0 cellPadding=3D0 border=3D0>
    <TBODY>
    <TR>
      <TD vAlign=3Dtop><BR>
        <DIV>ah yes, the business of music.&nbsp;&nbsp;&nbsp; How=20
        depressing!!&nbsp;&nbsp; Agenda's indeed!!!</DIV>
        <DIV>tis a shame the truely humane Steve Albini is=20
        but&nbsp;one&nbsp;honest soul up against the empire of the=20
        biz.&nbsp;&nbsp;&nbsp; And though he doesn't have&nbsp;seem =
to&nbsp;be=20
        into looping, ambient,&nbsp;or electronic music in general or at =
all=20
        from what I know of him, he WOULD record ANYBODY&nbsp;who =
travels=20
        to&nbsp;Chicago to be recorded by him and his state of the art =
ANALOG=20
        set up and&nbsp;do his usual 100% professional job.</DIV>
        <DIV>&nbsp;</DIV>
        <DIV><A=20
        =
href=3D"http://images.search.yahoo.com/search/images/view?back=3Dhttp%3A%=
2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3=
DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=3D=
150&amp;h=3D150&amp;imgurl=3Dwww.myownmusicindustry.nl%2Fimages%2Fmyblood=
yvalentine-loveless.jpg&amp;rurl=3Dhttp%3A%2F%2Fwww.myownmusicindustry.nl=
%2Farchives%2Farchive_2005-m05.php&amp;size=3D5.2kB&amp;name=3Dmybloodyva=
lentine-loveless.jpg&amp;p=3Dmbv+loveless&amp;type=3Djpeg&amp;no=3D11&amp=
;tt=3D64&amp;oid=3D2950ad644219f1da&amp;ei=3DUTF-8"=20
        target=3D_blank rel=3Dnofollow></A>&nbsp;&nbsp;&nbsp; =
</DIV><BR><BR>--- On=20
        <B>Thu, 12/25/08, Rick Walker =
<I>&lt;looppool@cruzio.com&gt;</I></B>=20
        wrote:<BR>
        <BLOCKQUOTE=20
        style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: =
rgb(16,16,255) 2px solid"><BR>From:=20
          Rick Walker &lt;looppool@cruzio.com&gt;<BR>Subject: RE: Guitar =
drone=20
          music<BR>To: "LOOPERS DELIGHT (posting)"=20
          &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Thursday, =

          December 25, 2008, 11:50 PM<BR><BR>
          <DIV class=3DplainMail>Marc Marshall wrote:<BR>" May I add in =
a similar=20
          vein:<BR><BR>Spacemen 3&nbsp;&nbsp;&nbsp;any of the early=20
          ones<BR>Flying Saucer =
Attack&nbsp;&nbsp;&nbsp;ditto<BR>Jessamine&nbsp;=20
          &nbsp; anything is good IMHO<BR>Seefeel&nbsp; &nbsp; &nbsp;=20
          Polyfusia&nbsp;&nbsp;&nbsp;and Quique"<BR><BR><BR>Yeah,&nbsp; =
I really=20
          love Seefeel.&nbsp; &nbsp; &nbsp; Also,&nbsp; though they do =
have=20
          vocals I also<BR>love the incredibly minimalist and melancholy =
group=20
          Low.<BR><BR>I still reiterate though, that with so many people =
doing=20
          different stylistic things to mine<BR>the periphery of this =
subject=20
          (droney guitar music) that<BR>Erdem shoul definitely find out =
from his=20
          record label exactly the kind of style they<BR>want from=20
          him.&nbsp;&nbsp;&nbsp;<BR>If they are asking him for a =
specific style=20
          of music then they probably have an agenda for<BR>what they=20
          =
want.<BR><BR></DIV></BLOCKQUOTE></TD></TR></TBODY></TABLE><BR></BLOCKQUOT=
E></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 12:41:50 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: contemporary r and b / electroacoustic-soundart
Date: Fri, 26 Dec 2008 14:41:46 +0200
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hey,

i am planning to start a new album in 2009 that mixes contemporary =
mainstream r and b/pop/gospel ( beyonce, kelly rowland etc ) with =
contemporary electroacoustic, soundart techniques and sounds. i plan to =
use programs such as msp, soundhack, audimulch, ircam spectral tools, =
metasynth etc. are there any albums on the market that combine these 2 =
extremes? would love to check them out.

thanks as always. best regards.=20

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu

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<DIV>hey,</DIV>
<DIV>&nbsp;</DIV>
<DIV>i am planning to start a new album in 2009 that mixes contemporary=20
mainstream&nbsp;r and b/pop/gospel ( beyonce, kelly rowland etc ) with=20
contemporary electroacoustic, soundart&nbsp;techniques and sounds. i =
plan to use=20
programs such as msp, soundhack, audimulch, ircam spectral tools, =
metasynth etc.=20
are there any albums on the market that combine these 2 extremes?=20
would&nbsp;love to check them out.</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks as always. best regards.&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR></DIV></BODY></HTML>

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Message-ID: <000301c9675c$05699ef0$0302a8c0@YOUR08D5303051>
From: "Jeff Duke" <jeff_d@embarqmail.com>
To: <Loopers-Delight@loopers-delight.com>
References: <748087.56177.qm@web51508.mail.re2.yahoo.com> <00a601c96756$6bcac8f0$0500000a@ERDEMOLD>
Subject: Re: Guitar drone music
Date: Fri, 26 Dec 2008 07:43:03 -0500
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Late entry I found: Machine Guitars

http://differentwaters.blogspot.com/2008_10_01_archive.html

j
  ----- Original Message -----=20
  From: Erdem Helvacioglu=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Friday, December 26, 2008 7:35 AM
  Subject: Re: Guitar drone music


  hey,

  thanks to all for your help on the guitar drone subject. i have =
already finished half of the record. i was wondering if i am doing =
similar things or breaking some new ground. it seems that i have really =
discovered some new things and production techniques in the genre of =
guitardrone-ambient. i am very excited about the album! will be released =
fall 2009.

  one exciting news. i have been involved with this project that was =
premiered in UK in november. i have been invited to contribute a piece =
to this project
  /album along with the world's leading electroacoustic composers and =
sounds artists such as fennesz, christian zanesi, scanner, francis =
dhomont, david toop etc.

  http://www.60project.com/

  thanks and best.

  Erdem Helvacioglu
  www.erdemhelvacioglu.com
  www.myspace.com/erdemhelvacioglu

    ----- Original Message -----=20
    From: Marc Marshall=20
    To: Loopers-Delight@loopers-delight.com=20
    Sent: Friday, December 26, 2008 6:56 AM
    Subject: RE: Guitar drone music




          ah yes, the business of music.    How depressing!!   Agenda's =
indeed!!!
          tis a shame the truely humane Steve Albini is but one honest =
soul up against the empire of the biz.    And though he doesn't have =
seem to be into looping, ambient, or electronic music in general or at =
all from what I know of him, he WOULD record ANYBODY who travels to =
Chicago to be recorded by him and his state of the art ANALOG set up and =
do his usual 100% professional job.

             =20


          --- On Thu, 12/25/08, Rick Walker <looppool@cruzio.com> wrote:


            From: Rick Walker <looppool@cruzio.com>
            Subject: RE: Guitar drone music
            To: "LOOPERS DELIGHT (posting)" =
<Loopers-Delight@loopers-delight.com>
            Date: Thursday, December 25, 2008, 11:50 PM


            Marc Marshall wrote:
            " May I add in a similar vein:

            Spacemen 3   any of the early ones
            Flying Saucer Attack   ditto
            Jessamine    anything is good IMHO
            Seefeel      Polyfusia   and Quique"


            Yeah,  I really love Seefeel.      Also,  though they do =
have vocals I also
            love the incredibly minimalist and melancholy group Low.

            I still reiterate though, that with so many people doing =
different stylistic things to mine
            the periphery of this subject (droney guitar music) that
            Erdem shoul definitely find out from his record label =
exactly the kind of style they
            want from him.  =20
            If they are asking him for a specific style of music then =
they probably have an agenda for
            what they want.

        =20




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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.10.0/1864 - Release Date: =
12/25/2008 9:40 AM

------=_NextPart_000_000A_01C9672D.958BB4C0
Content-Type: text/html;
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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
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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>Late entry I found: Machine =
Guitars</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2><A=20
href=3D"http://differentwaters.blogspot.com/2008_10_01_archive.html">http=
://differentwaters.blogspot.com/2008_10_01_archive.html</A></FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>j</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=3Derdemhel@tnn.net href=3D"mailto:erdemhel@tnn.net">Erdem =
Helvacioglu</A>=20
  </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> Friday, December 26, 2008 =
7:35=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Guitar drone =
music</DIV>
  <DIV><BR></DIV>
  <DIV>hey,</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>thanks to all for your help on the guitar drone subject. i have =
already=20
  finished half of the record. i was wondering if i am doing similar =
things or=20
  breaking some new ground. it seems that i have really discovered some =
new=20
  things and&nbsp;production techniques in the genre of =
guitardrone-ambient. i=20
  am very excited about the album! will be released fall 2009.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>one exciting news. i have been involved with this project that =
was=20
  premiered in UK in november. i have been invited to contribute a piece =
to this=20
  project</DIV>
  <DIV>/album along with the world's leading electroacoustic composers =
and=20
  sounds artists such as fennesz, christian zanesi, scanner, francis =
dhomont,=20
  david toop etc.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><A =
href=3D"http://www.60project.com/">http://www.60project.com/</A></DIV>
  <DIV>&nbsp;</DIV>
  <DIV>thanks and best.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV><FONT face=3DArial size=3D2>Erdem Helvacioglu<BR><A=20
  =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
  =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR></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=3Dagentlesoul2004@yahoo.com=20
    href=3D"mailto:agentlesoul2004@yahoo.com">Marc Marshall</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> Friday, December 26, =
2008 6:56=20
    AM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> RE: Guitar drone =
music</DIV>
    <DIV><BR></DIV>
    <TABLE cellSpacing=3D0 cellPadding=3D0 border=3D0>
      <TBODY>
      <TR>
        <TD vAlign=3Dtop><BR>
          <DIV>ah yes, the business of music.&nbsp;&nbsp;&nbsp; How=20
          depressing!!&nbsp;&nbsp; Agenda's indeed!!!</DIV>
          <DIV>tis a shame the truely humane Steve Albini is=20
          but&nbsp;one&nbsp;honest soul up against the empire of the=20
          biz.&nbsp;&nbsp;&nbsp; And though he doesn't have&nbsp;seem =
to&nbsp;be=20
          into looping, ambient,&nbsp;or electronic music in general or =
at all=20
          from what I know of him, he WOULD record ANYBODY&nbsp;who =
travels=20
          to&nbsp;Chicago to be recorded by him and his state of the art =
ANALOG=20
          set up and&nbsp;do his usual 100% professional job.</DIV>
          <DIV>&nbsp;</DIV>
          <DIV><A=20
          =
href=3D"http://images.search.yahoo.com/search/images/view?back=3Dhttp%3A%=
2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3=
DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=3D=
150&amp;h=3D150&amp;imgurl=3Dwww.myownmusicindustry.nl%2Fimages%2Fmyblood=
yvalentine-loveless.jpg&amp;rurl=3Dhttp%3A%2F%2Fwww.myownmusicindustry.nl=
%2Farchives%2Farchive_2005-m05.php&amp;size=3D5.2kB&amp;name=3Dmybloodyva=
lentine-loveless.jpg&amp;p=3Dmbv+loveless&amp;type=3Djpeg&amp;no=3D11&amp=
;tt=3D64&amp;oid=3D2950ad644219f1da&amp;ei=3DUTF-8"=20
          target=3D_blank rel=3Dnofollow></A>&nbsp;&nbsp;&nbsp; =
</DIV><BR><BR>--- On=20
          <B>Thu, 12/25/08, Rick Walker =
<I>&lt;looppool@cruzio.com&gt;</I></B>=20
          wrote:<BR>
          <BLOCKQUOTE=20
          style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: =
rgb(16,16,255) 2px solid"><BR>From:=20
            Rick Walker &lt;looppool@cruzio.com&gt;<BR>Subject: RE: =
Guitar drone=20
            music<BR>To: "LOOPERS DELIGHT (posting)"=20
            &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: =
Thursday,=20
            December 25, 2008, 11:50 PM<BR><BR>
            <DIV class=3DplainMail>Marc Marshall wrote:<BR>" May I add =
in a=20
            similar vein:<BR><BR>Spacemen 3&nbsp;&nbsp;&nbsp;any of the =
early=20
            ones<BR>Flying Saucer=20
            Attack&nbsp;&nbsp;&nbsp;ditto<BR>Jessamine&nbsp; &nbsp; =
anything is=20
            good IMHO<BR>Seefeel&nbsp; &nbsp; &nbsp;=20
            Polyfusia&nbsp;&nbsp;&nbsp;and =
Quique"<BR><BR><BR>Yeah,&nbsp; I=20
            really love Seefeel.&nbsp; &nbsp; &nbsp; Also,&nbsp; though =
they do=20
            have vocals I also<BR>love the incredibly minimalist and =
melancholy=20
            group Low.<BR><BR>I still reiterate though, that with so =
many people=20
            doing different stylistic things to mine<BR>the periphery of =
this=20
            subject (droney guitar music) that<BR>Erdem shoul definitely =
find=20
            out from his record label exactly the kind of style =
they<BR>want=20
            from him.&nbsp;&nbsp;&nbsp;<BR>If they are asking him for a =
specific=20
            style of music then they probably have an agenda for<BR>what =
they=20
            =
want.<BR><BR></DIV></BLOCKQUOTE></TD></TR></TBODY></TABLE><BR></BLOCKQUOT=
E>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 13:30:22 2008
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References: <748087.56177.qm@web51508.mail.re2.yahoo.com> <00a601c96756$6bcac8f0$0500000a@ERDEMOLD> <000301c9675c$05699ef0$0302a8c0@YOUR08D5303051>
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droning with chitarra battente

http://fr.youtube.com/watch?v=TB3Ru0kRuIg

On Dec 26, 2008, at 1:43 PM, Jeff Duke wrote:

> Late entry I found: Machine Guitars
>
> http://differentwaters.blogspot.com/2008_10_01_archive.html
>
> j
> ----- Original Message -----
> From: Erdem Helvacioglu
> To: Loopers-Delight@loopers-delight.com
> Sent: Friday, December 26, 2008 7:35 AM
> Subject: Re: Guitar drone music
>
> hey,
>
> thanks to all for your help on the guitar drone subject. i have  
> already finished half of the record. i was wondering if i am doing  
> similar things or breaking some new ground. it seems that i have  
> really discovered some new things and production techniques in the  
> genre of guitardrone-ambient. i am very excited about the album!  
> will be released fall 2009.
>
> one exciting news. i have been involved with this project that was  
> premiered in UK in november. i have been invited to contribute a  
> piece to this project
> /album along with the world's leading electroacoustic composers and  
> sounds artists such as fennesz, christian zanesi, scanner, francis  
> dhomont, david toop etc.
>
> http://www.60project.com/
>
> thanks and best.
>
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu
> ----- Original Message -----
> From: Marc Marshall
> To: Loopers-Delight@loopers-delight.com
> Sent: Friday, December 26, 2008 6:56 AM
> Subject: RE: Guitar drone music
>
>
> ah yes, the business of music.    How depressing!!   Agenda's  
> indeed!!!
> tis a shame the truely humane Steve Albini is but one honest soul up  
> against the empire of the biz.    And though he doesn't have seem to  
> be into looping, ambient, or electronic music in general or at all  
> from what I know of him, he WOULD record ANYBODY who travels to  
> Chicago to be recorded by him and his state of the art ANALOG set up  
> and do his usual 100% professional job.
>
>
>
>
> --- On Thu, 12/25/08, Rick Walker <looppool@cruzio.com> wrote:
>
> From: Rick Walker <looppool@cruzio.com>
> Subject: RE: Guitar drone music
> To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
> Date: Thursday, December 25, 2008, 11:50 PM
>
> Marc Marshall wrote:
> " May I add in a similar vein:
>
> Spacemen 3   any of the early ones
> Flying Saucer Attack   ditto
> Jessamine    anything is good IMHO
> Seefeel      Polyfusia   and Quique"
>
>
> Yeah,  I really love Seefeel.      Also,  though they do have vocals  
> I also
> love the incredibly minimalist and melancholy group Low.
>
> I still reiterate though, that with so many people doing different  
> stylistic things to mine
> the periphery of this subject (droney guitar music) that
> Erdem shoul definitely find out from his record label exactly the  
> kind of style they
> want from him.
> If they are asking him for a specific style of music then they  
> probably have an agenda for
> what they want.
>
>
>
>
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.10.0/1864 - Release Date:  
> 12/25/2008 9:40 AM


--Apple-Mail-11-735432817
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	charset=US-ASCII
Content-Transfer-Encoding: quoted-printable

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">droning with chitarra =
battente<div><br></div><div><a =
href=3D"http://fr.youtube.com/watch?v=3DTB3Ru0kRuIg">http://fr.youtube.com=
/watch?v=3DTB3Ru0kRuIg</a></div><div><br><div><div>On Dec 26, 2008, at =
1:43 PM, Jeff Duke 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: 'Goudy Old Style'; font-size: 16px; =
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 bgcolor=3D"#ffffff"><div><font =
face=3D"Arial" size=3D"2">Late entry I found: Machine =
Guitars</font></div><div><font face=3D"Arial" =
size=3D"2"></font>&nbsp;</div><div><font face=3D"Arial" size=3D"2"><a =
href=3D"http://differentwaters.blogspot.com/2008_10_01_archive.html">http:=
//differentwaters.blogspot.com/2008_10_01_archive.html</a></font></div><di=
v><font face=3D"Arial" size=3D"2"></font>&nbsp;</div><div><font =
face=3D"Arial" size=3D"2">j</font></div><blockquote =
style=3D"padding-right: 0px; padding-left: 5px; margin-left: 5px; =
border-left-color: rgb(0, 0, 0); border-left-width: 2px; =
border-left-style: solid; margin-right: 0px; "><div style=3D"font: =
normal normal normal 10pt/normal arial; ">----- Original Message =
-----</div><div style=3D"background-image: initial; background-repeat: =
initial; background-attachment: initial; -webkit-background-clip: =
initial; -webkit-background-origin: initial; background-color: rgb(228, =
228, 228); font: normal normal normal 10pt/normal arial; =
background-position: initial initial; "><b>From:</b><span =
class=3D"Apple-converted-space">&nbsp;</span><a title=3D"erdemhel@tnn.net"=
 href=3D"mailto:erdemhel@tnn.net">Erdem Helvacioglu</a></div><div =
style=3D"font: normal normal normal 10pt/normal arial; "><b>To:</b><span =
class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"Loopers-Delight@loopers-delight.com" =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a></div><div style=3D"font: normal normal normal =
10pt/normal arial; "><b>Sent:</b><span =
class=3D"Apple-converted-space">&nbsp;</span>Friday, December 26, 2008 =
7:35 AM</div><div style=3D"font: normal normal normal 10pt/normal arial; =
"><b>Subject:</b><span class=3D"Apple-converted-space">&nbsp;</span>Re: =
Guitar drone =
music</div><div><br></div><div>hey,</div><div>&nbsp;</div><div>thanks to =
all for your help on the guitar drone subject. i have already finished =
half of the record. i was wondering if i am doing similar things or =
breaking some new ground. it seems that i have really discovered some =
new things and&nbsp;production techniques in the genre of =
guitardrone-ambient. i am very excited about the album! will be released =
fall 2009.</div><div>&nbsp;</div><div>one exciting news. i have been =
involved with this project that was premiered in UK in november. i have =
been invited to contribute a piece to this project</div><div>/album =
along with the world's leading electroacoustic composers and sounds =
artists such as fennesz, christian zanesi, scanner, francis dhomont, =
david toop etc.</div><div>&nbsp;</div><div><a =
href=3D"http://www.60project.com/">http://www.60project.com/</a></div><div=
>&nbsp;</div><div>thanks and best.</div><div>&nbsp;</div><div><font =
face=3D"Arial" size=3D"2">Erdem Helvacioglu<br><a =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</a><br><=
a =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelv=
acioglu</a><br></font></div><blockquote style=3D"padding-right: 0px; =
padding-left: 5px; margin-left: 5px; border-left-color: rgb(0, 0, 0); =
border-left-width: 2px; border-left-style: solid; margin-right: 0px; =
"><div style=3D"font: normal normal normal 10pt/normal arial; ">----- =
Original Message -----</div><div style=3D"background-image: initial; =
background-repeat: initial; background-attachment: initial; =
-webkit-background-clip: initial; -webkit-background-origin: initial; =
background-color: rgb(228, 228, 228); font: normal normal normal =
10pt/normal arial; background-position: initial initial; =
"><b>From:</b><span class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"agentlesoul2004@yahoo.com" =
href=3D"mailto:agentlesoul2004@yahoo.com">Marc Marshall</a></div><div =
style=3D"font: normal normal normal 10pt/normal arial; "><b>To:</b><span =
class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"Loopers-Delight@loopers-delight.com" =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a></div><div style=3D"font: normal normal normal =
10pt/normal arial; "><b>Sent:</b><span =
class=3D"Apple-converted-space">&nbsp;</span>Friday, December 26, 2008 =
6:56 AM</div><div style=3D"font: normal normal normal 10pt/normal arial; =
"><b>Subject:</b><span class=3D"Apple-converted-space">&nbsp;</span>RE: =
Guitar drone music</div><div><br></div><table cellspacing=3D"0" =
cellpadding=3D"0" border=3D"0"><tbody><tr><td valign=3D"top"><br><div>ah =
yes, the business of music.&nbsp;&nbsp;&nbsp; How =
depressing!!&nbsp;&nbsp; Agenda's indeed!!!</div><div>tis a shame the =
truely humane Steve Albini is but&nbsp;one&nbsp;honest soul up against =
the empire of the biz.&nbsp;&nbsp;&nbsp; And though he doesn't =
have&nbsp;seem to&nbsp;be into looping, ambient,&nbsp;or electronic =
music in general or at all from what I know of him, he WOULD record =
ANYBODY&nbsp;who travels to&nbsp;Chicago to be recorded by him and his =
state of the art ANALOG set up and&nbsp;do his usual 100% professional =
job.</div><div>&nbsp;</div><div><a =
href=3D"http://images.search.yahoo.com/search/images/view?back=3Dhttp%3A%2=
F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DS=
earch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=3D1=
50&amp;h=3D150&amp;imgurl=3Dwww.myownmusicindustry.nl%2Fimages%2Fmybloodyv=
alentine-loveless.jpg&amp;rurl=3Dhttp%3A%2F%2Fwww.myownmusicindustry.nl%2F=
archives%2Farchive_2005-m05.php&amp;size=3D5.2kB&amp;name=3Dmybloodyvalent=
ine-loveless.jpg&amp;p=3Dmbv+loveless&amp;type=3Djpeg&amp;no=3D11&amp;tt=3D=
64&amp;oid=3D2950ad644219f1da&amp;ei=3DUTF-8" target=3D"_blank" =
rel=3D"nofollow"></a>&nbsp;&nbsp;&nbsp;</div><br><br>--- On<span =
class=3D"Apple-converted-space">&nbsp;</span><b>Thu, 12/25/08, Rick =
Walker<span class=3D"Apple-converted-space">&nbsp;</span><i>&lt;<a =
href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a>></i></b><span =
class=3D"Apple-converted-space">&nbsp;</span>wrote:<br><blockquote =
style=3D"padding-left: 5px; margin-left: 5px; border-left-color: rgb(16, =
16, 255); border-left-width: 2px; border-left-style: solid; "><br>From: =
Rick Walker &lt;<a =
href=3D"mailto:looppool@cruzio.com">looppool@cruzio.com</a>><br>Subject: =
RE: Guitar drone music<br>To: "LOOPERS DELIGHT (posting)" &lt;<a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a>><br>Date: Thursday, December 25, 2008, 11:50 =
PM<br><br><div class=3D"plainMail">Marc Marshall wrote:<br>" May I add =
in a similar vein:<br><br>Spacemen 3&nbsp;&nbsp;&nbsp;any of the early =
ones<br>Flying Saucer Attack&nbsp;&nbsp;&nbsp;ditto<br>Jessamine&nbsp; =
&nbsp; anything is good IMHO<br>Seefeel&nbsp; &nbsp; &nbsp; =
Polyfusia&nbsp;&nbsp;&nbsp;and Quique"<br><br><br>Yeah,&nbsp; I really =
love Seefeel.&nbsp; &nbsp; &nbsp; Also,&nbsp; though they do have vocals =
I also<br>love the incredibly minimalist and melancholy group =
Low.<br><br>I still reiterate though, that with so many people doing =
different stylistic things to mine<br>the periphery of this subject =
(droney guitar music) that<br>Erdem shoul definitely find out from his =
record label exactly the kind of style they<br>want from =
him.&nbsp;&nbsp;&nbsp;<br>If they are asking him for a specific style of =
music then they probably have an agenda for<br>what they =
want.<br><br></div></blockquote></td></tr></tbody></table><br></blockquote=
><div><br class=3D"webkit-block-placeholder"></div><hr><div><br =
class=3D"webkit-block-placeholder"></div><br>No virus found in this =
incoming message.<br>Checked by AVG -<span =
class=3D"Apple-converted-space">&nbsp;</span><a =
href=3D"http://www.avg.com">http://www.avg.com</a><span =
class=3D"Apple-converted-space">&nbsp;</span><br>Version: 8.0.176 / =
Virus Database: 270.10.0/1864 - Release Date: 12/25/2008 9:40 =
AM<br></blockquote></div></span></blockquote></div><br></div></body></html=
>=

--Apple-Mail-11-735432817--

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Date: Fri, 26 Dec 2008 14:59:46 +0100
From: Fabio_A <eterogenus@gmail.com>
To: Loopers-Delight@loopers-delight.com
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---------- Forwarded message ----------
From: Fabio_A <eterogenus@gmail.com>
Date: 2008/12/26
Subject: Re: here and now / evolving loops
To: billwalker@baymoon.com


Per, Bill,
thanks for the...."feedback"  ;-)
About the "speed rate" technic (answering to Per) is something I dont' feel
confortable with.
It's true that changing the speed rate can give different solutions in
rhythm, but it seems to me that it adds a bit of confusion about the "real"
rhythm that's going on (i mean: the perceived rhythm).

Ther's always a difference between what we are playing (or conscious to
play) and what the audience perceived...., but this is another
discussion...

I found interesting the technic explained by Bill about "variable feedback"
and grouping tracks with different lenght loops.
Very interesting, thanks for sharing this trick, Bill. I've definitively to
test it !

What remains unsolved in my mind is: what do you mean about "changing
direction" ?

Referring to tonality, it seems that a lot of people in this list play on a
"tonal centre" (you know what i mean....: playing and looping in E minor,
for example) This is no the case of Kris et alteri....I know, but most of
people here (including myself) play mostly "on" or "around" the same chord.

It's rare to hear someone changing chords, when looping (i mean having and
evolving an harmonic structure, like: A minor/D minor/G major/D major and
back to the beginning ...just for example) and evolving that chords change
into a new one while looping.

So, sometimes i feel like live looping miss something about "harmony". You
can change rhythm, melodies, but it's difficult to build in short time
chords structures that evolve "while" looping.

Maybe that's why in most cases looping appears like "painting" and not
"telling a story" ?

Matthias ?
I'm interested in what you think about my question.

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo




2008/12/25 William Walker <billwalker@baymoon.com>

 Thanks for the post Fabio,
>
> More and more I am exploring the use of variable feedback to keep my loops
> evolving.  My cc pedal assigned to feedback gets more use than my track
> volume pedal,  as I'll use it to quickly remove a note or portion of the
> sample (dubbing by removal) , I love deconstructing a loop this way, and it
> seems to create smoother less stuttery results than when I use replace for
> the same purpose. Also, as I probably have mentioned before you can create
> dramatic tremolo effects by rocking the feedback pedal back and forth,
> including tremolo effects you can't get with an actual tremolo pedal.
> Expression pedals with the fastest response work best. I use Roland ev-5's,
> they seem to work ok and I like the range knob as you can quickly change the
> pedals response without recalibrating my midi foot controller.  I also use
> the feedback pedal to fade tracks out gradually as I'm recording new
> material to replace them to keep the loops from getting to static..   A
> strategy I've been using in this way, has been to build up a group of tracks
> and apply feedback to all of them anywhere from 40%-75% depending how
> quickly I want things to fade. Naturally the loops of fewer bars will fade
> away more quickly leaving the longer loops playing. I then start replacing
> the shorter tracks with new material as the longer tracks continue to fade.
>   Even if I'm staying in one tonal center and replacing tracks with similar
> content,  this use of feedback to morph tracks helps keep the loops from
> getting too static and create more ebb and flow to the music..  I'll use
> multiply when creating several tracks in such a way that I might have track
> 1 be 1bar in length, track 2 be 2 bars , track 3 be 4 bars, etc, , Using
> this technique to end a tune,  my last track before bringing the music to a
> conclusion, might be a solo or long melodic theme that might be several bars
> in length.  Finally I will apply feedback to all the tracks which I will
> vary starting at about 75% and gradually dropping to 0%. I love that all
> that remains as the tracks are fading away, is the long melody at the end
> that I can continue to play with and support as I soften the dynamics of my
> playing, and the tune finally fades.  The analogy comes to mind of everyone
> in the marching band continuing down the street and around the corner as the
> lone clarinetist stays behind to serenade the crowd.
>
> It's a windy, partly cloudy, partly sunny, mostly rainy Christmas day so
> far.
>
>  A fine day for looping, if you ask me.
>
> Bill
>
>
>

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<br><br><div class="gmail_quote">---------- Forwarded message ----------<br>From: <b class="gmail_sendername">Fabio_A</b> <span dir="ltr">&lt;<a href="mailto:eterogenus@gmail.com">eterogenus@gmail.com</a>&gt;</span><br>Date: 2008/12/26<br>
Subject: Re: here and now / evolving loops<br>To: <a href="mailto:billwalker@baymoon.com">billwalker@baymoon.com</a><br><br><br><div>Per, Bill,&nbsp;</div>thanks for the....&quot;feedback&quot; &nbsp;;-)<div><br></div><div>About the &quot;speed rate&quot; technic (answering to Per) is something I dont&#39; feel confortable with.&nbsp;</div>
<div>It&#39;s true that changing the speed rate can give different solutions in rhythm, but it seems to me that it adds a bit of confusion about the &quot;real&quot; rhythm that&#39;s going on (i mean: the perceived rhythm).</div>

<div><br></div><div>Ther&#39;s always a difference between what we are playing (or conscious to play) and what the audience perceived...., but this is another discussion...&nbsp;<br></div><div><br></div><div>I found interesting the technic explained by Bill about &quot;variable feedback&quot; and grouping tracks with different lenght loops.</div>

<div>Very interesting, thanks for sharing this trick, Bill. I&#39;ve definitively to test it !</div><div><br>What remains unsolved in my mind is: what do you mean about &quot;changing direction&quot; ?</div><div><br></div>

<div>Referring to tonality, it seems that a lot of people in this list play on a &quot;tonal centre&quot; (you know what i mean....: playing and looping in E minor, for example) This is no the case of Kris et alteri....I know, but most of people here (including myself) play mostly &quot;on&quot; or &quot;around&quot; the same chord.</div>

<div>&nbsp;</div><div>It&#39;s rare to hear someone changing chords, when looping (i mean having and evolving an harmonic structure, like: A minor/D minor/G major/D major and back to the beginning ...just for example) and evolving that chords change into a new one while looping.</div>

<div><br></div><div>So, sometimes i feel like live looping miss something about &quot;harmony&quot;. You can change rhythm, melodies, but it&#39;s difficult to build in short time chords structures that evolve &quot;while&quot; looping.</div>

<div><br></div><div>Maybe that&#39;s why in most cases looping appears like &quot;painting&quot; and not &quot;telling a story&quot; ?</div><div><br></div><div>Matthias ?&nbsp;</div><div>I&#39;m interested in what you think about my question.</div>
<div class="Ih2E3d">
<div><br></div><div>Fabio</div><div><a href="http://www.eterogeneo.com" target="_blank">www.eterogeneo.com</a></div><div><a href="http://www.myspace.com/eterogeneo" target="_blank">www.myspace.com/eterogeneo</a></div><div>
<br></div><div><br></div><div><br>
</div></div><div><br><div class="gmail_quote">2008/12/25 William Walker <span dir="ltr">&lt;<a href="mailto:billwalker@baymoon.com" target="_blank">billwalker@baymoon.com</a>&gt;</span><div><div></div><div class="Wj3C7c">
<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">









<div lang="EN-US" link="blue" vlink="purple">

<div>

<p style="margin-left:.5in;text-indent:-.5in"><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">Thanks for the post
Fabio, </span></font></p>

<p><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">More and more I am exploring the use
of variable feedback to keep my loops evolving. &nbsp;My cc pedal assigned to
feedback gets more use than my track volume pedal, &nbsp;as I&#39;ll use it
to quickly remove a note or portion of the sample (dubbing by removal) , I love
deconstructing a loop this way, and it seems to create smoother less stuttery
results than when I use replace for the same purpose. Also, as I probably have
mentioned before you can create dramatic tremolo effects by rocking the feedback
pedal back and forth, including tremolo effects you can&#39;t get with an
actual tremolo pedal. Expression pedals with the fastest response work best. I
use Roland ev-5&#39;s, they seem to work ok and I like the range knob as you
can quickly change the pedals response without recalibrating my midi foot
controller. &nbsp;I also use the feedback pedal to fade tracks out gradually as
I&#39;m recording new material to replace them to keep the loops from getting
to static.. &nbsp;&nbsp;A strategy I&#39;ve been using in this way, has been
to build up a group of tracks and apply feedback to all of them anywhere from
40%-75% depending how quickly I want things to fade. Naturally the loops of
fewer bars will fade away more quickly leaving the longer loops playing. I then
start replacing the shorter tracks with new material as the longer tracks
continue to fade. &nbsp;&nbsp;Even if I&#39;m staying in one tonal center and
replacing tracks with similar content, &nbsp;this use of feedback to morph
tracks helps keep the loops from getting too static and create more ebb and
flow to the music.. &nbsp;I&#39;ll use multiply when creating several tracks
in such a way that I might have track 1 be 1bar in length, track 2 be 2 bars ,
track 3 be 4 bars, etc, , Using this technique to end a tune, &nbsp;my last
track before bringing the music to a conclusion, might be a solo or long
melodic theme that might be several bars in length. &nbsp;Finally I will apply
feedback to all the tracks which I will vary starting at about 75% and
gradually dropping to 0%. I love that all that remains as the tracks are fading
away, is the long melody at the end that I can continue to play with and
support as I soften the dynamics of my playing, and the tune finally fades.&nbsp;
The analogy comes to mind of everyone in the marching band continuing down the
street and around the corner as the lone clarinetist stays behind to serenade
the crowd. </span></font></p>

<p><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">It&#39;s a windy, partly cloudy,
partly sunny, mostly rainy Christmas day so far.</span></font></p>

<p><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">&nbsp;A fine day for looping, if you
ask me.</span></font></p>

<p><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">Bill</span></font></p>

<p><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">&nbsp;</span></font></p>

</div>

</div>


</blockquote></div></div></div><br></div>
</div><br>

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Date: Fri, 26 Dec 2008 09:28:58 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: Galactic Travels Playlist #612 for December 25, 2008.
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http://wdiy.org/programs/gt/playlists/2008/081225.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 #612                December 25, 2008.

RECAP:
On this show, I concluded the month-long focus on the Tangerine Dream.
The Featured CD at Midnight was Autumn in Hiroshima on Eastgate Records.

Tangerine Dream:
http://wdiy.org/programs/gt/playlists/2008/focus.html#dec


PLAYLIST:

11:04 pm
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Kevin Braheny        Starflight 1 *       Galaxies (Hearts of Space)
Megtone              Portal To Hyperspace Pure Land (none)
Janet Robbins        Nibiru's Crossing    Carrying the Bag of Hearts,
                                            Interpreting the Birth Vol.
                                            III (Star Seven)
Ulrich Schnause      Goodbye              Goodbye (none)
John Lakveet         Gate 2               The LastNine Convoys from
                                            Magoria Station (ad21)
Numina               Angelic Relic        Sound Symbols (none)

12:00 am
ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Tangerine Dream      Trauma               Autumn in Hiroshima (Eastgate)
Tangerine Dream      Reset                Autumn in Hiroshima (Eastgate)
Tangerine Dream      Awareness            Autumn in Hiroshima (Eastgate)
Tangerine Dream      Novice               Autumn in Hiroshima (Eastgate)
Tangerine Dream      Strange Voices       Autumn in Hiroshima (Eastgate)
Tangerine Dream      Fathom               Autumn in Hiroshima (Eastgate)
Tangerine Dream      Oracular World       Autumn in Hiroshima (Eastgate)
Tangerine Dream      Remembering Ayumi    Autumn in Hiroshima (Eastgate)
Tangerine Dream      Mellow Submersion    Autumn in Hiroshima (Eastgate)
Tangerine Dream      Answers              Autumn in Hiroshima (Eastgate)
Tangerine Dream      Touching Truth       Autumn in Hiroshima (Eastgate)
Tangerine Dream      Insight              Autumn in Hiroshima (Eastgate)
Tangerine Dream      Omniscience          Autumn in Hiroshima (Eastgate)
Tangerine Dream      Nothing and All      Autumn in Hiroshima (Eastgate)

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 William
Edge.  The Featured CD at Midnight will be Kaleidoscope.

William Edge: http://wdiy.org/programs/gt/playlists/2009/focus.html#jan


Bill
=======================================================================
Host of Galactic Travels, an electronic, ambient, and space music
show, Thursdays at 11:04 pm EST (GMT-5:00) 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
MySpace: http://myspace.com/galactictravels
RSS News Feed: http://wdiy.org/programs/gt/rss/enews.xml
Podcasts: http://wdiy.org/programs/gt/rss/gt.xml
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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 14:43:09 2008
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From: FabioA <eterogenus@gmail.com>
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Subject: Re: bidule question
Date: Fri, 26 Dec 2008 15:43:00 +0100
References: <49541872.50304@cruzio.com> <COL118-W66E4D59697BD28903A463CDBEB0@phx.gbl> <66f9cc1e0812260206y7502809q762ec6a5a396c579@mail.gmail.com>
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Turn "off" the engine in Bidule, then drag the FF midi in module into  
the working area.

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo

Il giorno 26/dic/08, alle ore 11:06, "Per Boysen"  
<perboysen@gmail.com> ha scritto:

> Start by doing a double check. Does the two FireFace MIDI input ports
> show up in other applications? Do you have the latest driver by RME?
> Do you have the latest version of Bidule?
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 26, 2008 at 5:35 AM, J Johans <parispro00@hotmail.com>  
> wrote:
>> sorry, im waiting  to be allowed into the bidule forumn (heaven  
>> help them)
>>
>> im just trying to connect my midi keyboard to an instrument inside  
>> bidule so
>> i can trigger tones
>>
>> when i go to choose MIDI IN under midi devices bidule, i see my  
>> fireface
>> midi in - but it wont let me drag it to the workspace..?
>> it looks normal, no italics - but wont let me use it -
>>
>> this is how i access the midi IN on my audio interface, right?  
>> keyboard
>> plugged into midi in, then in bidule...midi in ---> instrument midi  
>> in
>>
>> under bidule/midi devices/input - there is only 1 choice, my  
>> fireface in -
>> and it wont let me use it
>> under bidule/midi devided/output - there are 2 choices, my fireface  
>> and then
>> microsoft wavetable syth - the MS one i can drop onto the  
>> workspace...but
>> not the fireface
>>
>> hope im missing something silly, any ideas?
>> thanks
>> fro
>>
>> ________________________________
>> Send e-mail faster without improving your typing skills. Get your  
>> Hotmail(R)
>> account.
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 17:57:29 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: guitar drone music  (Fahey)
Date: Fri, 26 Dec 2008 09:57:27 -0800
To: Loopers-Delight@loopers-delight.com
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Rev,

I am a big fan of Fahey too.

I was so sad to hear of his passing a few years back, and positively=20
astonished to hear that he had been living in Portland, Oregon.

I never got to see him live - although i've seen Kottke and others=20
many, many times.

Since I became an immigrant/exile in Oregon a dozen years ago, I also=20
kick myself for not heading up that way to seek him out.

I don't get up there enough as it is . . . and Medford (where I live)=20
is the most deadly dull, lethally boring, inhabited place on the=20
planet.

It's certainly killing me.

Best regards,

tEd =AE KiLLiAn

Creativity represents a miraculous coming together of the uninhibited=20
energy of the child with its apparent opposite and enemy, the sense of=20=

order imposed on the disciplined adult intelligence. =96 Norman =
Podhoretz

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes
On Dec 25, 2008, at 7:13 PM, Rev Fever wrote:

>
> -----Original Message-----
> From: Marc Marshall <agentlesoul2004@yahoo.com>
> Sent: Dec 25, 2008 8:38 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: guitar drone music
>
> I grew up in the time and area of=A0John Fahey=A0(greater Washington =
DC=20
> area circa 1960's and 70's)=A0=A0 for what it is worth, I never saw =
him=20
> berate the audience though being a notorious drunk that is very=20
> possible;=A0unlike many functioning alcoholics it didn't seem to =
effect=20
> his playing all that much, at least the many times I saw him. He was=20=

> brilliant the times I saw him in spite of being drunk.=A0 It DID =
effect=20
> his ability to tune and re tune his guitar to the different tunings.=A0
> He once asked if anyone in the audience could tune his guitar, and=20
> admitted being too drunk to;=A0I spoke up and tuned it and he then=20
> proceeded to play, laugh, and tell me I was no better than him at=20
> tuning.=A0 I guess you had to be there!!=A0 LOL
>
> Damn! That's a beautiful story! =A0Thanx for sharing.
>
> I am still kicking myself for NOT making the effort to go see Fahey=20
> here in Portland, at the (long gone) Medicine Hat Gallery a small few=20=

> years ago.=A0
> It was one of his last shows.=A0(or WAS his last?) He passed on not =
too=20
> long down the road after that.(he also lived in Oregon and not all=20
> that far from Portland, as I recall?)
> I guess I thought he'd always be around. BIG mistake! =A0Same goes for=20=

> ANYONE.=A0
>
> As for the Fahey non-experience,=A0guess I should have adhered to my=20=

> even longer-time motto which is "Love 'em while ya got 'em!". =A0But,=20=

> that time, I screwed up.=A0
> However, I did learn a lesson though to try to not allow something=20
> like that to ever happen again, if at all possible. =A0 =A0So =
far....so=20
> good.... :-)
>
> All the best,
> Rev Fever
> http://www.spiritone.com/~rvfever/
>
>

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 18:09:38 2008
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From: RP Collier <skeptikalist@gmail.com>
Subject: Re: guitar drone music  (Fahey)
Date: Fri, 26 Dec 2008 10:09:33 -0800
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On Dec 26, 2008, at 9:57 AM, tEd =AE KiLLiAn wrote:

> I was so sad to hear of his passing a few years back, and =20
> positively astonished to hear that he had been living in Portland, =20
> Oregon.

I think he was mostly living in a motel just outside of Salem in the =20
last years.


http://www.washingtoncitypaper.com/special/fahey030901.html


BobC=

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 18:10:33 2008
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From: Daryl Shawn <highhorse@mhorse.com>
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This is an interesting discussion.

It's true, Fabio, many looping artists tend to stay fixed on a tonal 
center. One simple trick I've found is to make a sudden or gradual 
change to a different chord in the same key. The most obvious is to go 
to the relative major or minor, so if it's been a heavy E minor groove, 
I'll start feeding in G major triads. It can create some real drama, 
while allowing an established loop to continue. It's not hard to switch 
back and forth, especially if you replace the lowest part of your loops 
(whatever serves as your "bass").

More dramatically, I'll lay groundwork for an actual key change by 
inserting bits of very nontonal, undefined stuff, slowly obliterating 
the previous key center. When the previous key has disappeared in a 
nontonal mess, I'll start a new one, replacing the nontonal stuff with 
inside material. Coming from chaos to a defined key center can work 
really nicely.

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

> What remains unsolved in my mind is: what do you mean about "changing 
> direction" ?
>
> Referring to tonality, it seems that a lot of people in this list play 
> on a "tonal centre" (you know what i mean....: playing and looping in 
> E minor, for example) This is no the case of Kris et alteri....I know, 
> but most of people here (including myself) play mostly "on" or 
> "around" the same chord.
>  
> It's rare to hear someone changing chords, when looping (i mean having 
> and evolving an harmonic structure, like: A minor/D minor/G major/D 
> major and back to the beginning ...just for example) and evolving that 
> chords change into a new one while looping.
>
> So, sometimes i feel like live looping miss something about "harmony". 
> You can change rhythm, melodies, but it's difficult to build in short 
> time chords structures that evolve "while" looping.

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 18:39:35 2008
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From: "Eduardo Martinez - musician, composer, artist" <subscriptions@EduardoMartinez.com>
Subject: OT: Classical Guitar Airline Travel Case Needed (6-string & 10-string)
Date: Fri, 26 Dec 2008 13:39:31 -0500
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--Apple-Mail-3-753984310
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Hi all,

Thanks for a wonderful list & resource. This is somewhat OT for this 
list, but I find some of the most knowledgeable musicians & posts here, 
as well as some of the most helpful. I am posting this email to a few 
of the guitar-related lists I belong to, in case you see it more than 
once in your inbox.

So far I have traveled incident-free with my SoloEtte nylon guitar that 
easily disassembles & fits in the overhead compartment of an airplane. 
I am in need now of a classical guitar flight case to travel with 
(6-string now, looking into a 10-string in the near future - posted to 
the 10-string list too; need cases for both), so that I can take a 
classical guitar instead of the SoloEtte, when this is required. I am 
looking for a great case to protect my traveling guitar from the 
elements (humidity, dust) & the airline baggage handlers (if that is 
even possible ;-), in case I need to check it in for certain flights. 
If I understand correctly, many/some airlines allow for guitar cases in 
their in-cabin closets if space is available (best option), or allow 
tarmac check-in right before entering the airplane (next best option; 
much like baby strollers). Last resort is to check-in the guitar case 
with the rest of the baggage, I assume :-(

I am looking for, in order of importance:
- protection first & foremost (humidity, temperature variations, dust, 
shock, etc.)
- as lightweight as possible without compromising protection
- nice to have a shoulder strap or backpack-style straps, in addition 
to a handle
- stylish (less important)
- cost would be my last requirement, not to compromise any the above

Also, would people recommend in general to also use a guitar case 
cover, depending on the case?

Of course I am thinking of using a classical guitar integrated into a 
looping, laptop-based rig. The various posts about Logic Studio & 
Mainstage (Per) have been helpful in visualizing this.

Thanks in advance for your recommendations. Happy Holidays (Holy Days) 
to all!

Blessings,

Eduardo Martinez
musician - composer - artist
www.EduardoMartinez.com
www.MySpace.com/EduardoMartinezMusic
Nashua, NH USA
--Apple-Mail-3-753984310
Content-Transfer-Encoding: 7bit
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	charset=US-ASCII

Hi all,


Thanks for a wonderful list & resource. This is somewhat OT for this
list, but I find some of the most knowledgeable musicians & posts
here, as well as some of the most helpful. I am posting this email to
a few of the guitar-related lists I belong to, in case you see it more
than once in your inbox.


So far I have traveled incident-free with my SoloEtte nylon guitar
that easily disassembles & fits in the overhead compartment of an
airplane. I am in need now of a classical guitar flight case to travel
with (6-string now, looking into a 10-string in the near future -
posted to the 10-string list too; need cases for both), so that I can
take a classical guitar instead of the SoloEtte, when this is
required. I am looking for a great case to protect my traveling guitar
from the elements (humidity, dust) & the airline baggage handlers (if
that is even possible ;-), in case I need to check it in for certain
flights. If I understand correctly, many/some airlines allow for
guitar cases in their in-cabin closets if space is available (best
option), or allow tarmac check-in right before entering the airplane
(next best option; much like baby strollers). Last resort is to
check-in the guitar case with the rest of the baggage, I assume :-(


I am looking for, in order of importance:

- protection first & foremost (humidity, temperature variations, dust,
shock, etc.)

- as lightweight as possible without compromising protection

- nice to have a shoulder strap or backpack-style straps, in addition
to a handle

- stylish (less important)

- cost would be my last requirement, not to compromise any the above


Also, would people recommend in general to also use a guitar case
cover, depending on the case?


Of course I am thinking of using a classical guitar integrated into a
looping, laptop-based rig. The various posts about Logic Studio &
Mainstage (Per) have been helpful in visualizing this.

<x-tad-bigger>

Thanks in advance for your recommendations. Happy Holidays (Holy Days)
to all!


</x-tad-bigger>Blessings,


Eduardo Martinez

musician - composer - artist

www.EduardoMartinez.com

www.MySpace.com/EduardoMartinezMusic

Nashua, NH USA
--Apple-Mail-3-753984310--

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To: <Loopers-Delight@loopers-delight.com>
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Subject: Re: Fwd: here and now / evolving loops
Date: Fri, 26 Dec 2008 13:43:49 -0500
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Daryl, is there a specific instance of you doing this up someplace? I would 
love to hear it!

Jeff

----- Original Message ----- 
From: "Daryl Shawn" <highhorse@mhorse.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 26, 2008 1:10 PM
Subject: Re: Fwd: here and now / evolving loops


> This is an interesting discussion.
>
> It's true, Fabio, many looping artists tend to stay fixed on a tonal
> center. One simple trick I've found is to make a sudden or gradual
> change to a different chord in the same key. The most obvious is to go
> to the relative major or minor, so if it's been a heavy E minor groove,
> I'll start feeding in G major triads. It can create some real drama,
> while allowing an established loop to continue. It's not hard to switch
> back and forth, especially if you replace the lowest part of your loops
> (whatever serves as your "bass").
>
> More dramatically, I'll lay groundwork for an actual key change by
> inserting bits of very nontonal, undefined stuff, slowly obliterating
> the previous key center. When the previous key has disappeared in a
> nontonal mess, I'll start a new one, replacing the nontonal stuff with
> inside material. Coming from chaos to a defined key center can work
> really nicely.
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>> What remains unsolved in my mind is: what do you mean about "changing
>> direction" ?
>>
>> Referring to tonality, it seems that a lot of people in this list play
>> on a "tonal centre" (you know what i mean....: playing and looping in
>> E minor, for example) This is no the case of Kris et alteri....I know,
>> but most of people here (including myself) play mostly "on" or
>> "around" the same chord.
>>
>> It's rare to hear someone changing chords, when looping (i mean having
>> and evolving an harmonic structure, like: A minor/D minor/G major/D
>> major and back to the beginning ...just for example) and evolving that
>> chords change into a new one while looping.
>>
>> So, sometimes i feel like live looping miss something about "harmony".
>> You can change rhythm, melodies, but it's difficult to build in short
>> time chords structures that evolve "while" looping.
>


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To: <Loopers-Delight@loopers-delight.com>
References: <8624964.1230259824424.JavaMail.root@mswamui-andean.atl.sa.earthlink.net> <689AEF9B-2A9B-4EE8-9FBF-127CDC10EC7A@ubergadget.com> <c4d4bd8f3c20901cd638753ea9dc661f@charter.net>
Subject: Re: guitar drone music  (Fahey)
Date: Fri, 26 Dec 2008 13:55:21 -0500
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Ted, it can't be worse than Ocala,Florida! I have a great life here but 
damnit, we don't call it Slocala for nothing. If it weren't for the Library 
and the internet I would have to go. I am for sure the only looper for 
miles! Atlanta, where I was for 30 years is chaos but always interesting.

so it goes,

Jeff

Out here in the Great Beyond, everything is strange.
The sooner you get used to that, the better off you'll be.
Allen Steele
Galaxy Blues

http://www.thisphase.org/jeffdukedotorg.html
http://www.myspace.com/loopsinphasespace
http://www.vimeo.com/jeffduke
http://www.youtube.com/user/sticky899
http://www.sugarat.org/tecbab/


----- Original Message ----- 
>To: <Loopers-Delight@loopers-delight.com>
>Sent: Friday, December 26, 2008 12:57 PM
>Subject: Re: guitar drone music (Fahey)



>I don't get up there enough as it is . . . and Medford (where I live)
>is the most deadly dull, lethally boring, inhabited place on the
>planet.

>It's certainly killing me.

>Best regards,

>tEd ® KiLLiAn

>Creativity represents a miraculous coming together of the uninhibited
>energy of the child with its apparent opposite and enemy, the sense of
>order imposed on the disciplined adult intelligence. – Norman Podhoretz

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes
On Dec 25, 2008, at 7:13 PM, Rev Fever wrote:

>
> -----Original Message-----
> From: Marc Marshall <agentlesoul2004@yahoo.com>
> Sent: Dec 25, 2008 8:38 PM
> To: Loopers-Delight@loopers-delight.com
> Subject: Re: guitar drone music
>
> I grew up in the time and area of John Fahey (greater Washington DC
> area circa 1960's and 70's) for what it is worth, I never saw him
> berate the audience though being a notorious drunk that is very
> possible; unlike many functioning alcoholics it didn't seem to effect
> his playing all that much, at least the many times I saw him. He was
> brilliant the times I saw him in spite of being drunk. It DID effect
> his ability to tune and re tune his guitar to the different tunings.
> He once asked if anyone in the audience could tune his guitar, and
> admitted being too drunk to; I spoke up and tuned it and he then
> proceeded to play, laugh, and tell me I was no better than him at
> tuning. I guess you had to be there!! LOL
>
> Damn! That's a beautiful story! Thanx for sharing.
>
> I am still kicking myself for NOT making the effort to go see Fahey
> here in Portland, at the (long gone) Medicine Hat Gallery a small few
> years ago.
> It was one of his last shows. (or WAS his last?) He passed on not too
> long down the road after that.(he also lived in Oregon and not all
> that far from Portland, as I recall?)
> I guess I thought he'd always be around. BIG mistake! Same goes for
> ANYONE.
>
> As for the Fahey non-experience, guess I should have adhered to my
> even longer-time motto which is "Love 'em while ya got 'em!". But,
> that time, I screwed up.
> However, I did learn a lesson though to try to not allow something
> like that to ever happen again, if at all possible. So far....so
> good.... :-)
>
> All the best,
> Rev Fever
> http://www.spiritone.com/~rvfever/
>
>



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Subject: Re: guitar drone music  (Fahey)
Date: Fri, 26 Dec 2008 11:26:06 -0800
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That's correct.  I went to the Gospel Mission (Salem, OR) when he was =20=

homeless and helped revive him!  (around 93 I think).  Brought him to =20=

Portland, fed him, encouraged him, hired him to record guitar stuff.  =20=

John and I were friends from 1968.  I recorded for Takoma, never =20
released - not due to the music etc but... a long funny story.  We =20
were good friends, went turtle hunting back in the day....

I have unreleased recordings of John from just before his Sonic Youth =20=

phase.  SOMEday...

I heard the first printed copy of 6 & 12 String guitar by Kottke.  Was =20=

living in Venice California at the time, all entwined in the Fahey =20
whirlwind of madness.  Up to hearing that record, I had fantasies of =20
being a great guitarist - I thought I was good.  After hearing it, I =20
knew the hill was too steep - that's when I switched to songwriting.

In my opinion, John was a real artist - of the highest order.  I've =20
known many artists, but John was right up there with Roy Buchanan for =20=

pure old school, no-Hollywood artist vibe.  And John was absolutely =20
and utterly original when he came out with his first records in 1959.  =20=

Multitudes owe John so much but so few nowadays know how much impact =20
he had on acoustic (and elect.) guitar playing as we know it.  =20
Alternate tunings, use of the Weissenborn, crazy electronics, taking =20
the guitar where it had never been before.

Yeah.... sorry to see him go.

Merry Day After

Richard
RICHARD SALES
www.glasswing.com
www.richardsales.com
www.hayleysales.com

On Dec 26, 2008, at 10:09 AM, RP Collier wrote:

>
> On Dec 26, 2008, at 9:57 AM, tEd =AE KiLLiAn wrote:
>
>> I was so sad to hear of his passing a few years back, and =20
>> positively astonished to hear that he had been living in Portland, =20=

>> Oregon.
>
> I think he was mostly living in a motel just outside of Salem in the =20=

> last years.
>
>
> http://www.washingtoncitypaper.com/special/fahey030901.html
>
>
> BobC








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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">That's correct. &nbsp;I went to =
the Gospel Mission (Salem, OR) when he was homeless and helped revive =
him! &nbsp;(around 93 I think). &nbsp;Brought him to Portland, fed him, =
encouraged him, hired him to record guitar stuff. &nbsp;John and I were =
friends from 1968. &nbsp;I recorded for Takoma, never released - not due =
to the music etc but... a long funny story. &nbsp;We were good friends, =
went turtle hunting back in the day.... &nbsp;<div><br></div><div>I have =
unreleased recordings of John from just before his Sonic Youth phase. =
&nbsp;SOMEday...<br><div><br><div>I heard the first printed copy of 6 =
&amp; 12 String guitar by Kottke. &nbsp;Was living in Venice California =
at the time, all entwined in the Fahey whirlwind of madness. &nbsp;Up to =
hearing that record, I had fantasies of being a great guitarist - I =
thought I was good. &nbsp;After hearing it, I knew the hill was too =
steep - that's when I switched to =
songwriting.&nbsp;</div><div><br></div><div>In my opinion, John was a =
real artist - of the highest order. &nbsp;I've known many artists, but =
John was right up there with Roy Buchanan for pure old school, =
no-Hollywood artist vibe. &nbsp;And John was absolutely and utterly =
original when he came out with his first records in 1959. =
&nbsp;Multitudes owe John so much but so few nowadays know how much =
impact he had on acoustic (and elect.) guitar playing as we know it. =
&nbsp;Alternate tunings, use of the Weissenborn, crazy electronics, =
taking the guitar where it had never been =
before.&nbsp;</div><div><br></div><div>Yeah.... sorry to see him =
go.</div><div><br></div><div>Merry Day =
After</div><div><br></div><div>Richard</div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">RICHARD =
SALES</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div></=
span></div><div><br><div><div>On Dec 26, 2008, at 10:09 AM, RP Collier =
wrote:</div><br class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite"><div><br>On Dec 26, 2008, at 9:57 AM, tEd =AE KiLLiAn =
wrote:<br><br><blockquote type=3D"cite">I was so sad to hear of his =
passing a few years back, and positively astonished to hear that he had =
been living in Portland, Oregon.<br></blockquote><br>I think he was =
mostly living in a motel just outside of Salem in the last =
years.<br><br><br><a =
href=3D"http://www.washingtoncitypaper.com/special/fahey030901.html">http:=
//www.washingtoncitypaper.com/special/fahey030901.html</a><br><br><br>BobC=
<br></div></blockquote></div><br><div apple-content-edited=3D"true"> =
<span class=3D"Apple-style-span" style=3D"border-collapse: separate; =
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style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
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class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> =
</div><br></div></div></div></body></html>=

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Lessee...yeah, the Chinapainting track "Isle of Exile" has an example of 
the switch from minor to relative major. It's in a pretty well-defined 
minor for the first 5 minutes. Then Jim started doing some looped slides 
that were a bit more major in feel, so I started slowly switching to the 
relative major, in high extensions, fading out the minor bass. By 7:30 
or so, the major key is pretty much established, and we ride that out to 
the end of the tune.

Sorry, I don't have an mp3 handy, but I'll see if I can get one together 
for you this weekend. Or, it's on eMusic and Rhapsody, as well as Amazon 
and iTunes - search for "Night Blooming Cereus" which is the album 
title. It's the second track.

Also, "Cut Away the Stone" from my "Rentintwain" CD is an example of 
going from atonality into a defined minor key, then switching to the 
relative major and doing some other shifting all in the same key. It's 
long - 12 minutes - and around seven minutes in, I start moving towards 
a tonal chord, slowly fading out the atonal stuff. At 8:20, I hit the 
relative major of that minor chord. At 9:00 or so, I start playing some 
other chordal fragments, implying other chords. You can stream that one 
here: http://www.swanwelder.com/jukebox/cutawaythestone/index.html

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


> Daryl, is there a specific instance of you doing this up someplace? I 
> would love to hear it!
>
> Jeff
>
> ----- Original Message ----- From: "Daryl Shawn" <highhorse@mhorse.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Friday, December 26, 2008 1:10 PM
> Subject: Re: Fwd: here and now / evolving loops
>
>
>> This is an interesting discussion.
>>
>> It's true, Fabio, many looping artists tend to stay fixed on a tonal
>> center. One simple trick I've found is to make a sudden or gradual
>> change to a different chord in the same key. The most obvious is to go
>> to the relative major or minor, so if it's been a heavy E minor groove,
>> I'll start feeding in G major triads. It can create some real drama,
>> while allowing an established loop to continue. It's not hard to switch
>> back and forth, especially if you replace the lowest part of your loops
>> (whatever serves as your "bass").
>>
>> More dramatically, I'll lay groundwork for an actual key change by
>> inserting bits of very nontonal, undefined stuff, slowly obliterating
>> the previous key center. When the previous key has disappeared in a
>> nontonal mess, I'll start a new one, replacing the nontonal stuff with
>> inside material. Coming from chaos to a defined key center can work
>> really nicely.

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 20:09:10 2008
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From: "Ricky Graham" <rock.guitar.guru@btinternet.com>
To: <Loopers-Delight@loopers-delight.com>
References: <976BD2065E20478BA2B8E0C2CCC590D4@williamsteed>	 <bbb8cbac0812260558x468b1385o50545ba0dcbd60@mail.gmail.com> <bbb8cbac0812260559r4523d18bq3719e35d3509949a@mail.gmail.com> <49551E12.8080002@mhorse.com> <001601c96789$e4d00bb0$0302a8c0@YOUR08D5303051> <49552FD8.6080201@mhorse.com>
Subject: Re: Fwd: here and now / evolving loops
Date: Fri, 26 Dec 2008 20:09:05 -0000
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You could always use the replace function on your EDP to replace the 
defining tones (single tone or otherwise), if say, you were playing a broken 
chord or some other voicing/arpeggiation. It's always the fun part of 
looping for me. Keeping it tonally interesting..

Merry Christmas, Happy holidays etc..

Ricky


----- Original Message ----- 
From: "Daryl Shawn" <highhorse@mhorse.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Friday, December 26, 2008 7:26 PM
Subject: Re: Fwd: here and now / evolving loops


> Lessee...yeah, the Chinapainting track "Isle of Exile" has an example of 
> the switch from minor to relative major. It's in a pretty well-defined 
> minor for the first 5 minutes. Then Jim started doing some looped slides 
> that were a bit more major in feel, so I started slowly switching to the 
> relative major, in high extensions, fading out the minor bass. By 7:30 or 
> so, the major key is pretty much established, and we ride that out to the 
> end of the tune.
>
> Sorry, I don't have an mp3 handy, but I'll see if I can get one together 
> for you this weekend. Or, it's on eMusic and Rhapsody, as well as Amazon 
> and iTunes - search for "Night Blooming Cereus" which is the album title. 
> It's the second track.
>
> Also, "Cut Away the Stone" from my "Rentintwain" CD is an example of going 
> from atonality into a defined minor key, then switching to the relative 
> major and doing some other shifting all in the same key. It's long - 12 
> minutes - and around seven minutes in, I start moving towards a tonal 
> chord, slowly fading out the atonal stuff. At 8:20, I hit the relative 
> major of that minor chord. At 9:00 or so, I start playing some other 
> chordal fragments, implying other chords. You can stream that one here: 
> http://www.swanwelder.com/jukebox/cutawaythestone/index.html
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>> Daryl, is there a specific instance of you doing this up someplace? I 
>> would love to hear it!
>>
>> Jeff
>>
>> ----- Original Message ----- From: "Daryl Shawn" <highhorse@mhorse.com>
>> To: <Loopers-Delight@loopers-delight.com>
>> Sent: Friday, December 26, 2008 1:10 PM
>> Subject: Re: Fwd: here and now / evolving loops
>>
>>
>>> This is an interesting discussion.
>>>
>>> It's true, Fabio, many looping artists tend to stay fixed on a tonal
>>> center. One simple trick I've found is to make a sudden or gradual
>>> change to a different chord in the same key. The most obvious is to go
>>> to the relative major or minor, so if it's been a heavy E minor groove,
>>> I'll start feeding in G major triads. It can create some real drama,
>>> while allowing an established loop to continue. It's not hard to switch
>>> back and forth, especially if you replace the lowest part of your loops
>>> (whatever serves as your "bass").
>>>
>>> More dramatically, I'll lay groundwork for an actual key change by
>>> inserting bits of very nontonal, undefined stuff, slowly obliterating
>>> the previous key center. When the previous key has disappeared in a
>>> nontonal mess, I'll start a new one, replacing the nontonal stuff with
>>> inside material. Coming from chaos to a defined key center can work
>>> really nicely.
>
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG. Version: 7.5.552 / Virus Database: 270.10.0/1864 - Release 
> Date: 12/25/2008 9:40 AM
>
> 

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 20:40:31 2008
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From: "greg williams" <gregorwilliams@comcast.net>
To: "'Fabio_A'" <eterogenus@gmail.com>,
	<Loopers-Delight@loopers-delight.com>
Subject: RE: here and now / evolving loops
Date: Fri, 26 Dec 2008 12:35:08 -0800
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Hi Per, Bill, Fabio, All,

I haven't contributed to these discussions in eons, so firstly let me wish
you all a Happy Holiday/Solstice/New Year!

This is a valuable discussion which addresses one of the serious
limitations/opportunities to looping as a musical approach, one which I like
many others struggles with regularly. I hope that more of us can contribute
to the thread and share approaches.

I will sometimes use the EDP multiply and loop windowing features to move
through chord changes at varying rates and sometimes at random. What I do is
set up a short (say 4 bar) loop of a non-tonal or vaguely tonal nature,
multiply it out with a progression of tangy chordal or arpeggio stuff (say 4
chords, now a 16 bar loop), multiply it back down to 4 bars over one chord,
then toggle and window between the 4 chord segments in memory at longer
intervals or at random. It works most of the time, with enough random
unpredictability to keep it fresh!

I also like to play around with modes. An example might be to set up a kind
of Am pentatonic arpeggio "wash", reduce feedback, add some F# stuff, now
solo in A Dorian, reduce feedback, add some D stuff, now solo in D
Mixolydian, etc. You can work this way between the related modes of your
choice. I've done this with different pentatonic "modes" and some raga-type
gapped scales as well to an interesting effect. The modes of the melodic
minor scale are really wild, but I'm a little too much of a chump to be able
to improvise with them effectively.

Another approach is to simply set up very long loops with harmonic
progression built in. Yet another is to simply loop non-tonal stuff and then
play live chord/melody or bass/melody over the top (if you are comfortable
doing that). Those two approaches are pretty obvious though of course.

Or you can just say "screw it" and play live segments without looping (what
a thought!).

Peace,

~Greg

 <http://www.myspace.com/gregwilliamsguitarist>
www.myspace.com/gregwilliamsguitarist

 

 

  _____  

From: Fabio_A [mailto:eterogenus@gmail.com] 
Sent: Friday, December 26, 2008 6:00 AM
To: Loopers-Delight@loopers-delight.com
Subject: Fwd: here and now / evolving loops

 

 

---------- Forwarded message ----------
From: Fabio_A <eterogenus@gmail.com>
Date: 2008/12/26
Subject: Re: here and now / evolving loops
To: billwalker@baymoon.com



Per, Bill, 

thanks for the...."feedback"  ;-)

 

About the "speed rate" technic (answering to Per) is something I dont' feel
confortable with. 

It's true that changing the speed rate can give different solutions in
rhythm, but it seems to me that it adds a bit of confusion about the "real"
rhythm that's going on (i mean: the perceived rhythm).

 

Ther's always a difference between what we are playing (or conscious to
play) and what the audience perceived...., but this is another discussion...


 

I found interesting the technic explained by Bill about "variable feedback"
and grouping tracks with different lenght loops.

Very interesting, thanks for sharing this trick, Bill. I've definitively to
test it !


What remains unsolved in my mind is: what do you mean about "changing
direction" ?

 

Referring to tonality, it seems that a lot of people in this list play on a
"tonal centre" (you know what i mean....: playing and looping in E minor,
for example) This is no the case of Kris et alteri....I know, but most of
people here (including myself) play mostly "on" or "around" the same chord.

 

It's rare to hear someone changing chords, when looping (i mean having and
evolving an harmonic structure, like: A minor/D minor/G major/D major and
back to the beginning ...just for example) and evolving that chords change
into a new one while looping.

 

So, sometimes i feel like live looping miss something about "harmony". You
can change rhythm, melodies, but it's difficult to build in short time
chords structures that evolve "while" looping.

 

Maybe that's why in most cases looping appears like "painting" and not
"telling a story" ?

 

Matthias ? 

I'm interested in what you think about my question.

 

Fabio

www.eterogeneo.com

www.myspace.com/eterogeneo

 

 

 

 

2008/12/25 William Walker <billwalker@baymoon.com>

 

Thanks for the post Fabio, 

More and more I am exploring the use of variable feedback to keep my loops
evolving.  My cc pedal assigned to feedback gets more use than my track
volume pedal,  as I'll use it to quickly remove a note or portion of the
sample (dubbing by removal) , I love deconstructing a loop this way, and it
seems to create smoother less stuttery results than when I use replace for
the same purpose. Also, as I probably have mentioned before you can create
dramatic tremolo effects by rocking the feedback pedal back and forth,
including tremolo effects you can't get with an actual tremolo pedal.
Expression pedals with the fastest response work best. I use Roland ev-5's,
they seem to work ok and I like the range knob as you can quickly change the
pedals response without recalibrating my midi foot controller.  I also use
the feedback pedal to fade tracks out gradually as I'm recording new
material to replace them to keep the loops from getting to static..   A
strategy I've been using in this way, has been to build up a group of tracks
and apply feedback to all of them anywhere from 40%-75% depending how
quickly I want things to fade. Naturally the loops of fewer bars will fade
away more quickly leaving the longer loops playing. I then start replacing
the shorter tracks with new material as the longer tracks continue to fade.
Even if I'm staying in one tonal center and replacing tracks with similar
content,  this use of feedback to morph tracks helps keep the loops from
getting too static and create more ebb and flow to the music..  I'll use
multiply when creating several tracks in such a way that I might have track
1 be 1bar in length, track 2 be 2 bars , track 3 be 4 bars, etc, , Using
this technique to end a tune,  my last track before bringing the music to a
conclusion, might be a solo or long melodic theme that might be several bars
in length.  Finally I will apply feedback to all the tracks which I will
vary starting at about 75% and gradually dropping to 0%. I love that all
that remains as the tracks are fading away, is the long melody at the end
that I can continue to play with and support as I soften the dynamics of my
playing, and the tune finally fades.  The analogy comes to mind of everyone
in the marching band continuing down the street and around the corner as the
lone clarinetist stays behind to serenade the crowd. 

It's a windy, partly cloudy, partly sunny, mostly rainy Christmas day so
far.

 A fine day for looping, if you ask me.

Bill

 

 

 


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<div class=3DSection1>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Hi Per,
Bill, Fabio, All,<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>I haven&#8217;t
contributed to these discussions in eons, so firstly let me wish you all =
a Happy
Holiday/Solstice/New Year!<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>This is a
valuable discussion which addresses one of the serious =
limitations/opportunities
to looping as a musical approach, one which I like many others struggles =
with
regularly. I hope that more of us can contribute to the thread and share =
approaches.<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>I will
sometimes use the EDP multiply and loop windowing features to move =
through
chord changes at varying rates and sometimes at random. What I do is set =
up a
short (say 4 bar) loop of a non-tonal or vaguely tonal nature, multiply =
it out
with a progression of tangy chordal or arpeggio stuff (say 4 chords, now =
a 16
bar loop), multiply it back down to 4 bars over one chord, then toggle =
and
window between the 4 chord segments in memory at longer intervals or at =
random.
It works most of the time, with enough random unpredictability to keep =
it
fresh!<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>I also
like to play around with modes. An example might be to set up a kind of =
Am pentatonic
arpeggio &#8220;wash&#8221;, reduce feedback, add some F# stuff, now =
solo in A Dorian,
reduce feedback, add some D stuff, now solo in D Mixolydian, etc. You =
can work
this way between the related modes of your choice. I&#8217;ve done this =
with
different pentatonic &#8220;modes&#8221; and some raga-type gapped =
scales as
well to an interesting effect. The modes of the melodic minor scale are =
really
wild, but I&#8217;m a little too much of a chump to be able to improvise =
with
them effectively&#8230;<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Another
approach is to simply set up very long loops with harmonic progression =
built
in. Yet another is to simply loop non-tonal stuff and then play live
chord/melody or bass/melody over the top (if you are comfortable doing =
that).
Those two approaches are pretty obvious though of =
course.<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Or you
can just say &#8220;screw it&#8221; and play live segments without =
looping
(what a thought!).<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>Peace,<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>~Greg<o:p></o:p></span></font></p>

<p><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'><a
href=3D"http://www.myspace.com/gregwilliamsguitarist"><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>www.myspace.com/gregwilliams=
guitarist</span></font></a><o:p></o:p></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;<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

<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'> =
Fabio_A
[mailto:eterogenus@gmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Friday, December =
26, 2008
6:00 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b> <st1:PersonName =
w:st=3D"on">Loopers-Delight@loopers-delight.com</st1:PersonName><br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Fwd: here and =
now /
evolving loops</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>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><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 style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span style=3D'font-size:12.0pt'>---------- =
Forwarded
message ----------<br>
From: <b><span style=3D'font-weight:bold'>Fabio_A</span></b> &lt;<a
href=3D"mailto:eterogenus@gmail.com">eterogenus@gmail.com</a>&gt;<br>
Date: 2008/12/26<br>
Subject: Re: here and now / evolving loops<br>
To: <a =
href=3D"mailto:billwalker@baymoon.com">billwalker@baymoon.com</a><br>
<br>
<o:p></o:p></span></font></p>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Per, Bill,&nbsp;<o:p></o:p></span></font></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>thanks for the....&quot;feedback&quot; =
&nbsp;;-)<o:p></o:p></span></font></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>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>About the &quot;speed rate&quot; technic (answering to Per) is
something I dont' feel confortable =
with.&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'>It's true that changing the speed rate can give different =
solutions in
rhythm, but it seems to me that it adds a bit of confusion about the
&quot;real&quot; rhythm that's going on (i mean: the perceived =
rhythm).<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'><o:p>&nbsp;</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'>Ther's always a difference between what we are playing (or =
conscious to
play) and what the audience perceived...., but this is another
discussion...&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'><o:p>&nbsp;</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'>I found interesting the technic explained by Bill about =
&quot;variable
feedback&quot; and grouping tracks with different lenght =
loops.<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'>Very interesting, thanks for sharing this trick, Bill. I've
definitively to test it !<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'><br>
What remains unsolved in my mind is: what do you mean about =
&quot;changing
direction&quot; ?<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'><o:p>&nbsp;</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'>Referring to tonality, it seems that a lot of people in this =
list play
on a &quot;tonal centre&quot; (you know what i mean....: playing and =
looping in
E minor, for example) This is no the case of Kris et alteri....I know, =
but most
of people here (including myself) play mostly &quot;on&quot; or
&quot;around&quot; the same chord.<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'>It's rare to hear someone changing chords, when looping (i mean =
having
and evolving an harmonic structure, like: A minor/D minor/G major/D =
major and
back to the beginning ...just for example) and evolving that chords =
change into
a new one while looping.<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'><o:p>&nbsp;</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'>So, sometimes i feel like live looping miss something about
&quot;harmony&quot;. You can change rhythm, melodies, but it's difficult =
to
build in short time chords structures that evolve &quot;while&quot; =
looping.<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'><o:p>&nbsp;</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'>Maybe that's why in most cases looping appears like
&quot;painting&quot; and not &quot;telling a story&quot; =
?<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'><o:p>&nbsp;</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'>Matthias ?&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'>I'm interested in what you think about my =
question.<o:p></o:p></span></font></p>

</div>

<div>

<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>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>Fabio<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'><a href=3D"http://www.eterogeneo.com" =
target=3D"_blank">www.eterogeneo.com</a><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'><a href=3D"http://www.myspace.com/eterogeneo" =
target=3D"_blank">www.myspace.com/eterogeneo</a><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'><o:p>&nbsp;</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'><o:p>&nbsp;</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'><o:p>&nbsp;</o:p></span></font></p>

</div>

</div>

<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'>2008/12/25 William Walker &lt;<a =
href=3D"mailto:billwalker@baymoon.com"
target=3D"_blank">billwalker@baymoon.com</a>&gt;<o:p></o:p></span></font>=
</p>

<div>

<div>

<blockquote style=3D'border:none;border-left:solid #CCCCCC =
1.0pt;padding:0in 0in 0in 6.0pt;
margin-left:4.8pt;margin-right:0in'>

<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 link=3Dblue vlink=3Dpurple>

<div>

<p style=3D'margin-left:.5in;text-indent:-.5in'><font size=3D2 =
face=3DArial><span
style=3D'font-size:10.0pt;font-family:Arial'>Thanks for the post Fabio, =
</span></font><o:p></o:p></p>

<p><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'>More
and more I am exploring the use of variable feedback to keep my loops =
evolving.
&nbsp;My cc pedal assigned to feedback gets more use than my track =
volume
pedal, &nbsp;as I'll use it to quickly remove a note or portion of the =
sample
(dubbing by removal) , I love deconstructing a loop this way, and it =
seems to
create smoother less stuttery results than when I use replace for the =
same
purpose. Also, as I probably have mentioned before you can create =
dramatic
tremolo effects by rocking the feedback pedal back and forth, including =
tremolo
effects you can't get with an actual tremolo pedal. Expression pedals =
with the
fastest response work best. I use Roland ev-5's, they seem to work ok =
and I
like the range knob as you can quickly change the pedals response =
without recalibrating
my midi foot controller. &nbsp;I also use the feedback pedal to fade =
tracks out
gradually as I'm recording new material to replace them to keep the =
loops from
getting to static.. &nbsp;&nbsp;A strategy I've been using in this way, =
has
been to build up a group of tracks and apply feedback to all of them =
anywhere
from 40%-75% depending how quickly I want things to fade. Naturally the =
loops
of fewer bars will fade away more quickly leaving the longer loops =
playing. I
then start replacing the shorter tracks with new material as the longer =
tracks
continue to fade. &nbsp;&nbsp;Even if I'm staying in one tonal center =
and
replacing tracks with similar content, &nbsp;this use of feedback to =
morph
tracks helps keep the loops from getting too static and create more ebb =
and
flow to the music.. &nbsp;I'll use multiply when creating several tracks =
in
such a way that I might have track 1 be 1bar in length, track 2 be 2 =
bars ,
track 3 be 4 bars, etc, , Using this technique to end a tune, &nbsp;my =
last
track before bringing the music to a conclusion, might be a solo or long
melodic theme that might be several bars in length. &nbsp;Finally I will =
apply
feedback to all the tracks which I will vary starting at about 75% and
gradually dropping to 0%. I love that all that remains as the tracks are =
fading
away, is the long melody at the end that I can continue to play with and
support as I soften the dynamics of my playing, and the tune finally
fades.&nbsp; The analogy comes to mind of everyone in the marching band
continuing down the street and around the corner as the lone clarinetist =
stays
behind to serenade the crowd. </span></font><o:p></o:p></p>

<p><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'>It's
a windy, partly cloudy, partly sunny, mostly rainy Christmas day so =
far.</span></font><o:p></o:p></p>

<p><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;font-family:Arial'>&nbsp;A
fine day for looping, if you ask me.</span></font><o:p></o:p></p>

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

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

</div>

</div>

</blockquote>

</div>

</div>

</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>

</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>

</body>

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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 21:50:48 2008
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--_d6771085-4042-4567-a867-c2a049f0dccc_
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     Going back a bit farther=2Cpeople across the northern zones used to fe=
ed  the psycho-active Amanita Muscaria mushrooms to reindeer=2Cand then eit=
her drink the piss or eat the meat. This was a way of moderating the toxins=
 as the ratio of toxin to psychedelic varies  somewhat unpredictably .This =
amanita of course is bright rd with white spots. To this day there are sham=
ans in Siberia=2Cwhere the word origintaes who dress in red and white to mi=
mic the mushroom. Mircea Eliade's book  "Shamanism=2CArchaic  Techniiques o=
f Ecstacy" 1951=2Cthe first scholarly study on the subject=2C says that the=
 traditional definitio f a Shaman is smeone wh can INtentionally go to the =
other world and bring something back =2Cusually for healing.
 The two most common metaphors for making this journey are climbing up=2Can=
d back down the World Tree=2Cand going out the  the Smokehole=2Cor chimney=
=2Cand coming back with the gifts from the Spirit World.
   Bonus factoid=3B the words Fungus and Bongo=2C(ngoma=2Cand it's cognates=
 in bantu languages means drum dance party=2Creligious ritual =2Ceven godde=
s in some variants.) have the same  linguistic root=2Cwhich has something t=
o do with inducing ecstasy. I get this from Gordon Wassons book Soma.

--_d6771085-4042-4567-a867-c2a049f0dccc_
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<body class=3D'hmmessage'>
&nbsp=3B&nbsp=3B&nbsp=3B&nbsp=3B Going back a bit farther=2Cpeople across t=
he northern zones used to feed&nbsp=3B the psycho-active Amanita Muscaria m=
ushrooms to reindeer=2Cand then either drink the piss or eat the meat. This=
 was a way of moderating the toxins as the ratio of toxin to psychedelic va=
ries&nbsp=3B somewhat unpredictably .This amanita of course is bright rd wi=
th white spots. To this day there are shamans in Siberia=2Cwhere the word o=
rigintaes who dress in red and white to mimic the mushroom. Mircea Eliade's=
 book&nbsp=3B "Shamanism=2CArchaic&nbsp=3B Techniiques of Ecstacy" 1951=2Ct=
he first scholarly study on the subject=2C says that the traditional defini=
tio f a Shaman is smeone wh can INtentionally go to the other world and bri=
ng something back =2Cusually for healing.<br>&nbsp=3BThe two most common me=
taphors for making this journey are climbing up=2Cand back down the World T=
ree=2Cand going out the&nbsp=3B the Smokehole=2Cor chimney=2Cand coming bac=
k with the gifts from the Spirit World.<br>&nbsp=3B&nbsp=3B Bonus factoid=
=3B the words Fungus and Bongo=2C(ngoma=2Cand it's cognates in bantu langua=
ges means drum dance party=2Creligious ritual =2Ceven goddes in some varian=
ts.) have the same&nbsp=3B linguistic root=2Cwhich has something to do with=
 inducing ecstasy. I get this from Gordon Wassons book Soma.<br></body>
</html>=

--_d6771085-4042-4567-a867-c2a049f0dccc_--

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   I saw him several times in DC area=2Cand he never spoke o the audience a=
t all which I really dug I don=3Bt care for stage patter.  He was definatel=
y drinking=2Cand played beautifully. At one show at the end he just sat the=
re. The audience eventually fidgeted nervoulsy=2Che said =2Cthat's it you c=
an go home now.











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&nbsp=3B&nbsp=3B I saw him several times in DC area=2Cand he never spoke o =
the audience at all which I really dug I don=3Bt care for stage patter.&nbs=
p=3B He was definately drinking=2Cand played beautifully. At one show at th=
e end he just sat there. The audience eventually fidgeted nervoulsy=2Che sa=
id =2Cthat's it you can go home now.<br><br><blockquote><br><br><br><br><br=
><br><br><span id=3D"EC__ctl0_ContentPlaceHolder1_NewestQuotes1_lblMessage"=
><br></span></blockquote><font face=3D"arial=2Chelvetica"><br></font></body=
>
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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 22:07:07 2008
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I don't have anything neat worked out for A-section, B-section kind of
stuff, but what I usually do to make a transition is this: I have a
16-channel sw looper where each overdub is a new track, so I end an Overdub
with "Truncate" in my system, which terminates it immediately, making it's
cycle time independent of the previous loops - and turning that into the
time-basis for subsequent loops. I usually do this with a fairly short loop,
maybe in a new key. Then, I have 2 options: I can hit overdub and rapidly
lay down another 15 short layers in the new key, blotting out the old key
layer by layer. Or I can hit the next footswitch on over (which has been
automatically mapped by the fact that I hit Truncate) to activate the "Fade
All But Top" function, which will fade out all the tracks except the last
one recorded over a preset time period - and then I can proceed to build
tracks in the new key.

Warren

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I don&#39;t have anything neat worked out for A-section, B-section kind of stuff, but what I usually do to make a transition is this: I have a 16-channel sw looper where each overdub is a new track, so I end an Overdub with &quot;Truncate&quot; in my system, which terminates it immediately, making it&#39;s cycle time independent of the previous loops - and turning that into the time-basis for subsequent loops. I usually do this with a fairly short loop, maybe in a new key. Then, I have 2 options: I can hit overdub and rapidly lay down another 15 short layers in the new key, blotting out the old key layer by layer. Or I can hit the next footswitch on over (which has been automatically mapped by the fact that I hit Truncate) to activate the &quot;Fade All But Top&quot; function, which will fade out all the tracks except the last one recorded over a preset time period - and then I can proceed to build tracks in the new key.<br>
<br>Warren<br><br>

------=_Part_125704_32094757.1230329226762--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 22:35:28 2008
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From: "Warren Sirota" <wsirota@wsdesigns.com>
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To: loopers-delight <Loopers-Delight@loopers-delight.com>
Subject: New noise/drone piece up on ubetoo
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Just as folks are starting extol clean sounds, of course I'm getting
dirtier. This one is a combination of Mainstage fuzzy guitar tones plus this
nice flangey thing from my gr-33. It's just a bunch of greasy noise, really,
that does a transition from minor-y noise to major-y noise about 2/3
through.

Check out "Canyons of the Heart" on my ubetoo page:
http://www.ubetoo.com/Artist.taf?_ArtistId=6679

Meanwhile, I'm sitting here enjoying Matthias' Long Trip to Everywhere at
http://www.ubetoo.com/Artist.taf?_ArtistId=7212.

-- 
Warren

http://www.warrensirota.com

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Just as folks are starting extol clean sounds, of course I&#39;m getting dirtier. This one is a combination of Mainstage fuzzy guitar tones plus this nice flangey thing from my gr-33. It&#39;s just a bunch of greasy noise, really, that does a transition from minor-y noise to major-y noise about 2/3 through.<br>
<br>Check out &quot;Canyons of the Heart&quot; on my ubetoo page: <a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><br>Meanwhile, I&#39;m sitting here enjoying Matthias&#39; <font size="2"><span style="font-weight: normal;">Long Trip to Everywhere at </span></font><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=7212">http://www.ubetoo.com/Artist.taf?_ArtistId=7212</a>. <br>
<br>-- <br>Warren<br><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>

------=_Part_125814_33444781.1230330926274--

From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 22:40:40 2008
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From: J Johans <parispro00@hotmail.com>
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Subject: RE: bidule question
Date: Fri, 26 Dec 2008 16:40:39 -0600
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thanks per -  i tried it on my mac and it works just fine=2C so i know its =
just something in vista-
atleast now i get to play around =3D) - it was very rewarding to hear my pi=
ano trigger tones in my computer=2C thanks for your help and for introducin=
g me to bidule and mainstage - i should get my new mac in about a week and =
ill let you know how it handles the multiple patches
=20
fro> Date: Fri=2C 26 Dec 2008 11:06:33 +0100> From: perboysen@gmail.com> To=
: Loopers-Delight@loopers-delight.com> Subject: Re: bidule question> > Star=
t by doing a double check. Does the two FireFace MIDI input ports> show up =
in other applications? Do you have the latest driver by RME?> Do you have t=
he latest version of Bidule?> > Greetings from Sweden> > Per Boysen> www.bo=
ysen.se (Swedish)> www.looproom.com (international)> www.ubetoo.com/Artist.=
taf?_ArtistId=3D6550> > > > On Fri=2C Dec 26=2C 2008 at 5:35 AM=2C J Johans=
 <parispro00@hotmail.com> wrote:> > sorry=2C im waiting to be allowed into =
the bidule forumn (heaven help them)> >> > im just trying to connect my mid=
i keyboard to an instrument inside bidule so> > i can trigger tones> >> > w=
hen i go to choose MIDI IN under midi devices bidule=2C i see my fireface> =
> midi in - but it wont let me drag it to the workspace..?> > it looks norm=
al=2C no italics - but wont let me use it -> >> > this is how i access the =
midi IN on my audio interface=2C right? keyboard> > plugged into midi in=2C=
 then in bidule...midi in ---> instrument midi in> >> > under bidule/midi d=
evices/input - there is only 1 choice=2C my fireface in -> > and it wont le=
t me use it> > under bidule/midi devided/output - there are 2 choices=2C my=
 fireface and then> > microsoft wavetable syth - the MS one i can drop onto=
 the workspace...but> > not the fireface> >> > hope im missing something si=
lly=2C any ideas?> > thanks> > fro> >> > ________________________________> =
> Send e-mail faster without improving your typing skills. Get your Hotmail=
(R)> > account.>=20
_________________________________________________________________
Send e-mail anywhere. No map=2C no compass.
http://windowslive.com/oneline/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_anyw=
here_122008=

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<body class=3D'hmmessage'>
thanks per -&nbsp=3B&nbsp=3Bi tried it on my mac and it works just fine=2C =
so i know its just something in vista-<BR>
atleast now i get to play around =3D) - it was very rewarding to hear my pi=
ano trigger tones in my computer=2C thanks for your help and for introducin=
g me to bidule and mainstage - i should get my new mac in about a week and =
ill let you know how it handles the multiple patches<BR>
&nbsp=3B<BR>
fro<BR><BR>&gt=3B Date: Fri=2C 26 Dec 2008 11:06:33 +0100<BR>&gt=3B From: p=
erboysen@gmail.com<BR>&gt=3B To: Loopers-Delight@loopers-delight.com<BR>&gt=
=3B Subject: Re: bidule question<BR>&gt=3B <BR>&gt=3B Start by doing a doub=
le check. Does the two FireFace MIDI input ports<BR>&gt=3B show up in other=
 applications? Do you have the latest driver by RME?<BR>&gt=3B Do you have =
the latest version of Bidule?<BR>&gt=3B <BR>&gt=3B Greetings from Sweden<BR=
>&gt=3B <BR>&gt=3B Per Boysen<BR>&gt=3B www.boysen.se (Swedish)<BR>&gt=3B w=
ww.looproom.com (international)<BR>&gt=3B www.ubetoo.com/Artist.taf?_Artist=
Id=3D6550<BR>&gt=3B <BR>&gt=3B <BR>&gt=3B <BR>&gt=3B On Fri=2C Dec 26=2C 20=
08 at 5:35 AM=2C J Johans &lt=3Bparispro00@hotmail.com&gt=3B wrote:<BR>&gt=
=3B &gt=3B sorry=2C im waiting to be allowed into the bidule forumn (heaven=
 help them)<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B im just trying to connect my =
midi keyboard to an instrument inside bidule so<BR>&gt=3B &gt=3B i can trig=
ger tones<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B when i go to choose MIDI IN und=
er midi devices bidule=2C i see my fireface<BR>&gt=3B &gt=3B midi in - but =
it wont let me drag it to the workspace..?<BR>&gt=3B &gt=3B it looks normal=
=2C no italics - but wont let me use it -<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B=
 this is how i access the midi IN on my audio interface=2C right? keyboard<=
BR>&gt=3B &gt=3B plugged into midi in=2C then in bidule...midi in ---&gt=3B=
 instrument midi in<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B under bidule/midi dev=
ices/input - there is only 1 choice=2C my fireface in -<BR>&gt=3B &gt=3B an=
d it wont let me use it<BR>&gt=3B &gt=3B under bidule/midi devided/output -=
 there are 2 choices=2C my fireface and then<BR>&gt=3B &gt=3B microsoft wav=
etable syth - the MS one i can drop onto the workspace...but<BR>&gt=3B &gt=
=3B not the fireface<BR>&gt=3B &gt=3B<BR>&gt=3B &gt=3B hope im missing some=
thing silly=2C any ideas?<BR>&gt=3B &gt=3B thanks<BR>&gt=3B &gt=3B fro<BR>&=
gt=3B &gt=3B<BR>&gt=3B &gt=3B ________________________________<BR>&gt=3B &g=
t=3B Send e-mail faster without improving your typing skills. Get your Hotm=
ail(R)<BR>&gt=3B &gt=3B account.<BR>&gt=3B <BR><BR><br /><hr />Send e-mail =
anywhere. No map=2C no compass. <a href=3D'http://windowslive.com/oneline/h=
otmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_anywhere_122008' target=3D'_new'>Get=
 your Hotmail=AE account now.</a></body>
</html>=

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You are invited to "14MILLION BUSINESS TRANSATION URGENTLY NEEDED PLEASE".


By your host Abraham Nuru:


     Date:		Friday December 26, 2008

     Time:		10:15 pm - 11:15 pm (GMT +00:00)
     Street:		Reply me with this email... abraham_nuru@voila.fr Dear friend my name is Dr abraham nuru. I am the manager of auditing and accounting department of BANK OF AFRICA (B.O.A) here in Ouagadougou, Burkina Faso. In my department we discovered an abandoned sum $14 million us dollars in an account that belongs to one of our foreign customer (MR. RICHARD BURSON from Florida, U.S.A) who died along with his entire family on November 1999 in a plane crash.Since we got information about his death, we have been expecting his next of 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. unfortunately i learnt that all his supposed next of kin or relation died alongside with him at the plane crash leaving nobody behind for the claim. It is therefore upon 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.upon your reply I will send you full details on how the business will be executed, send me your contact information. 1.Age.(2)Residential adress(3) occupation(4)private telephone.Waiting to hear from you,My Regards.

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    <td class="propertyvalue">Reply me with this email... abraham_nuru@voila.fr Dear friend my name is Dr abraham nuru. I am the manager of auditing and accounting department of BANK OF AFRICA (B.O.A) here in Ouagadougou, Burkina Faso. In my department we discovered an abandoned sum $14 million us dollars in an account that belongs to one of our foreign customer (MR. RICHARD BURSON from Florida, U.S.A) who died along with his entire family on November 1999 in a plane crash.Since we got information about his death, we have been expecting his next of 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. unfortunately i learnt that all his supposed next of kin or relation died alongside with him at the plane crash leaving nobody behind for the claim. It is therefore upon 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.upon your reply I will send you full details on how the business will be executed, send me your contact information. 1.Age.(2)Residential adress(3) occupation(4)private telephone.Waiting to hear from you,My Regards.
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From Loopers-Delight-request@loopers-delight.com  Fri Dec 26 23:40:46 2008
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From: "William Walker" <billwalker@baymoon.com>
To: "'Daryl Shawn'" <highhorse@mhorse.com>,
        <Loopers-Delight@loopers-delight.com>
References: <49551E12.8080002@mhorse.com>
Subject: RE: Fwd: here and now / evolving loops
Date: Fri, 26 Dec 2008 15:40:38 -0800
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Along the lines of what Daryl describes I'd like to add the strategy I
employ often, which is the creation of a neutral melodic part that can also
be of a rhythmic nature but uses intervals other than the 3rd so I have the
luxury of going major or minor with what ever chords I lay on top with
another loop or overdub. For an example, lets say I confined my note choice
to two pitches, a major 2nd apart. Now those two notes could imply several
keys, and depending on which octave you play them in, they don't necessarily
have to imply a root point either. I tend to start with these simple parts
in high or mixed registers. They can be of a rhythmic or drone nature
depending on your approach. So lets look at the notes C and D as and
example. They could imply a Root C to major 2nd D in the key of C, The IV C
to V D in the Key of G, The  minor 3rd to 4th in the keys A natural (Aeolian
minor), A harmonic minor, and A melodic minor (ascending).  The V to VI in
the key of F major, etc. So now comes the point where I lay a chord
progression down over the top or in my case on a separate track. I usually
will work in one two bar progression but you don't have to. Then I will move
to a new key or imply a modulation by replacing that information with a new
chord progression rather than put it on a new track, I just use the replace
function which also allows be to replace just a portion of the track, if I
so desire. Some might think this method cumbersome but it works for me, and
the cool byproduct is you keep replacing tracks so even though you might use
this technique in a simple A/B chord progression, it tends to keep loops
sounding fresh  because you keep replacing them, rather than toggling back
an forth between loops you had created at the beginning of the piece. I
guess there is more risk involved that you play your parts slightly
differently each time but I also find this a more forgiving method if I do
make a mistake is I can always stay in replace mode until I get it right.
Replace is one of my favorite functions for taking a left turn musically. I
have a  foot controller preset dedicated to replace. I have one preset
dedicated to replace + track speed toggle, and one preset for those two
functions + reverse. Another cool strategy is to build up a few layers  of
very sparse loops that aren't implying too much harmonically, and then
create a loop that is a very long progression, perhaps and entire AB or ABC
form , and then start to play melodically on top of that as you start to
fade the progression away using feedback manipulation. Another cool trick is
to play a long progression and only record the second half of it so the loop
keeps tagging the last few bars until you decide to replace that content
with something new. Some of these approaches may be idiosyncratic to the
Looperlative and software based loop programs, but the concept of making the
first loops minimal and harmonically neutral can apply to any looper to
minimize the static nature of a chord progression looping over and over as
well as give you more key modulation options. The more I blog on this list
the more worried I am that I keep repeating myself...but is that not the
looping way??
 Bill


-----Original Message-----
From: Daryl Shawn [mailto:highhorse@mhorse.com] 
Sent: Friday, December 26, 2008 10:10 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fwd: here and now / evolving loops

This is an interesting discussion.
















It's true, Fabio, many looping artists tend to stay fixed on a tonal 
center. One simple trick I've found is to make a sudden or gradual 
change to a different chord in the same key. The most obvious is to go 
to the relative major or minor, so if it's been a heavy E minor groove, 
I'll start feeding in G major triads. It can create some real drama, 
while allowing an established loop to continue. It's not hard to switch 
back and forth, especially if you replace the lowest part of your loops 
(whatever serves as your "bass").

More dramatically, I'll lay groundwork for an actual key change by 
inserting bits of very nontonal, undefined stuff, slowly obliterating 
the previous key center. When the previous key has disappeared in a 
nontonal mess, I'll start a new one, replacing the nontonal stuff with 
inside material. Coming from chaos to a defined key center can work 
really nicely.

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

> What remains unsolved in my mind is: what do you mean about "changing 
> direction" ?
>
> Referring to tonality, it seems that a lot of people in this list play 
> on a "tonal centre" (you know what i mean....: playing and looping in 
> E minor, for example) This is no the case of Kris et alteri....I know, 
> but most of people here (including myself) play mostly "on" or 
> "around" the same chord.
>  
> It's rare to hear someone changing chords, when looping (i mean having 
> and evolving an harmonic structure, like: A minor/D minor/G major/D 
> major and back to the beginning ...just for example) and evolving that 
> chords change into a new one while looping.
>
> So, sometimes i feel like live looping miss something about "harmony". 
> You can change rhythm, melodies, but it's difficult to build in short 
> time chords structures that evolve "while" looping.

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 00:01:36 2008
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Date: Sat, 27 Dec 2008 09:01:29 +0900
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Re: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special 
 sauce, secret goo)
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At 9:47 PM -0600 12/25/08, Daryl Shawn wrote:
>holy cow, a dozen of Devi's! Amazing. I'd love to do side-by-sides.

Yeah, but it's not so big a deal.  I'd picked up a couple of Effector 
13 pedals already when she spun that business off and started again 
under her own name.  One of the first things she did was start that 
whole range of Artifacts -- inexpensive single fuzz units that could 
be swapped back and forth.  At that time, they were going for about 
$50 or $70 each, so I started grabbing some.  Didn't realize until a 
little while ago just how many I'd collected.

Here's the rundown: Effector 13 Truly Beautiful Disaster, Torn's 
Peaker, Feed Back Loop Oscillator, and Synth Mangler; Devi Ever OK, 
BIT, ND, 25, 05/25, Hyperion, US, and JP.  Also a Peep and a PeepPeep.

>Thanks for the reviews, great to get some personal insight into 
>those pedals. I forgot that I sent her a couple tracks - numbers 5 
>and 12 of my miniatures 
>(http://www.swanwelder.com/projects/miniatures.htm) feature the TBD, 
>albeit at a relatively "sane" setting.

I love the way the TBD meshes so well with the inherent distortion 
from the cassette loops.  It actually sounds natural in that context. 
I really like the different sorts of "obscured" textures that 
naturally fall from your miniatures.

Also, it used to be nice, seeing a familiar name up on the E13 page 
for the sound samples.  Too bad that passed into the ether.  Ah 
well...

>The SuperOscilloFuzz has me salivating...I love switches and 
>unpredictability. And joysticks too - if I feel the need for more 
>fuzz (?), I might get a Mangler first.

Yeah, I can't tell you how many times I've had to talk myself out of 
buying a Dream Mangler (or a Shoe Gazer, for that matter).  But I 
need to save my cash, and get more use out of the fuzzes I've already 
got.  Still, there's always just one more, isn't there?

>Mech, your set at the 07 loopfest was one of my favorites, you GOTTA 
>do some recording.!

Thanks Daryl!  I think the Chinapainting set that night was fantastic 
too(!!!) and definitely one of the highlights of that Loopfest for me.

As it so happens, I've got a week off (starting tonight) for Winter 
Break here.  My wife asked me earlier this evening what I wanted to 
do with the time off.

I laughed, and replied jokingly, "Record an album."

She looked at me deadpan: "You think you can do that?"  Her 
seriousness took me completely off guard.

Soooooo, now I'm thinking perhaps I'll give it a shot.  Maybe I won't 
get so much material down, but maybe I'll get *something*.  We'll 
see....

	--m.
-- 
_____
"the wind in my heart; the dust in my head...."

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 00:26:01 2008
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Date: Sat, 27 Dec 2008 09:25:56 +0900
To: Loopers-Delight@loopers-delight.com
From: Mech <mech@m3ch.net>
Subject: Circuit Bending stuff (was Re: Devi Ever)
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At 12:08 AM -0500 12/26/08, Jeff Duke wrote:
>I ran across this blog, looks very interesting! 
>http://www.getlofi.com/ sI did a little circut bending back in the 
>"day".

Suhweet!  Thanks for the pointer, Jeff!  Looks like lotsa good stuff there.

>Tip: Only circut bend things when they on on battery power! No ac Mech!! :)

Yeah, I'm lucky that power (100-120v) usually doesn't bother me too 
much, although I won't be sticking a fork into an outlet anytime 
soon.  I've gotten little jolts from those before and shrugged 'em 
off.  240v though: I've gotten one good whack with that in my life 
(from an appliance that was improperly grounded) and I *won't* be 
repeating that experience.  Regardless, batteries are all good.

Haven't actually bent a whole lotta things myself (mostly just 
destroyed a couple of portable keyboards) but I've got a couple of 
functioning bent instruments I picked up second-hand.

For one, quite a while back I found a Glitchdesk ( 
http://glitchdesk.com/glitchdesk/bw/ ) with a pre-configured Roland 
TR-626 and Casio SK-1.  The Casio is quite unstable (almost 
unusable), which was a bit of a disappointment because that's the 
primary reason I got the setup.  However, the Roland drum-machine 
more than makes up for it.  I'd only pulled sounds like that out of 
Reaktor previously.

And while I was away, I had a bent Boss PS-2 come in from Spunky 
Toofers ( http://www.youtube.com/watch?v=Z8JAxrVAcks ).  Haven't had 
a chance to run it through it's paces yet, though.  Should be good.

	--m.
-- 
_____
"we're no longer sure where home is; homesickness is our only guide"

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 00:37:32 2008
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would you mind to create a little video how that works and sounds in =20
praxis?

On 13 Dec 2008, at 20:06, William Walker wrote:

> When my brother and I do duo or trio gigs, we sync our looperlatives =20=

> up and away we go. The looperlative makes syncing easy as there is a =20=

> separate record function for the person acting as the master (sync =20
> record/overdub) and the person acting as the slave (midi sync record/=20=

> overdub). Simply by having both presets to use, this does away with =20=

> the complication of having a midi patch bay determining the master =20
> slave relationship, and you can even forgo a midi merge box  if you =20=

> have a midi controller that has a midi in and can act as a thru for =20=

> the midi clock. If you add more loopers you could use passive midi =20
> merge boxes to allow everyone a chance to be master and a chance to =20=

> be slave. Usually if I=92m wearing my bondage biker gear, you know =20
> chaps without jeans, and Rick has on his fetish mask with the zipper =20=

> mouth and latex body suit, its easy to=85=85Oops I=92m sorry I thought =
I =20
> was responding to the S&M blog site=85my apologies.
> Bill


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">would you mind to create a =
little video how that works and sounds in praxis?<div><br><div><div>On =
13 Dec 2008, at 20:06, William Walker 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: Geneva; font-size: 16px; 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 lang=3D"EN-US" link=3D"blue" =
vlink=3D"purple"><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" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">When my brother and I do duo or trio gigs, we sync our looperlatives =
up and away we go. The looperlative makes syncing easy as there is a =
separate record function for the person acting as the master (sync =
record/overdub) and the person acting as the slave (midi sync =
record/overdub). Simply by having both presets to use, this does away =
with the complication of having a midi patch bay determining the master =
slave relationship, and you can even forgo a midi merge box &nbsp;if you =
have a midi controller that has a midi in and can act as a thru for the =
midi clock. If you add more loopers you could use passive midi merge =
boxes to allow everyone a chance to be master and a chance to be slave. =
Usually if I=92m wearing my bondage biker gear, you know chaps without =
jeans, and Rick has on his fetish mask with the zipper mouth and latex =
body suit, its easy to=85=85Oops I=92m sorry I thought I was responding =
to the S&amp;M blog site=85my =
apologies.<o:p></o:p></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"2" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
">Bill<o:p></o:p></span></font></div></div></div></span></blockquote></div=
><br></div></body></html>=

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From: "William Walker" <billwalker@baymoon.com>
To: "'RICHARD SALES'" <richard@glasswing.com>,
        <Loopers-Delight@loopers-delight.com>
References: <04119012-0A6B-4144-A001-58C03E40F7B8@glasswing.com>
Subject: RE: guitar drone music  (Fahey)
Date: Fri, 26 Dec 2008 18:50:19 -0800
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Wow Richard great stories, I saw Fahey a couple of times  when I was in my
teens back in the Day I say him the night Jimmy Carter won the Presidency,
at the Great American Music hall in San Francisco. My Dad took me I believe
and I can't recall if my brother was there or not, probably so.  I just
remember Fahey rambling a bit during the tunes and saying how they should
have elected Him president, and proceeded to explaining bits of his policy
between sets. I think he was a bit loaded but his playing was transfixing to
say the least, his sound was huge. Music you could simply close your eyes
and paint your own picture to.  A  true original who Inspired me to explore
the world of alternate tunings. What a gift that is. A absolutely love John
Fahey and I identify with him as the outsider and innovator you spoke of
Richard.  Years later I was filling my gas tank near Cabrillo College a few
miles south of Santa Cruz when who should I see pumping gas but John Fahey.
It was definitely him, he had a pattern baldness comb- over thing going on
that was as unmistakable as Donald Trump' hair, in its own way. I regret
being too shy to go up to him and tell him how inspiring his music was, but
then again he seemed like a guy who would have preferred if you didn't.

Bill

 

  _____  

From: RICHARD SALES [mailto:richard@glasswing.com] 
Sent: Friday, December 26, 2008 11:26 AM
To: Loopers-Delight@loopers-delight.com
Subject: Re: guitar drone music (Fahey)

 

That's correct.  I went to the Gospel Mission (Salem, OR) when he was
homeless and helped revive him!  (around 93 I think).  Brought him to
Portland, fed him, encouraged him, hired him to record guitar stuff.  John
and I were friends from 1968.  I recorded for Takoma, never released - not
due to the music etc but... a long funny story.  We were good friends, went
turtle hunting back in the day....  

 

I have unreleased recordings of John from just before his Sonic Youth phase.
SOMEday...

 

I heard the first printed copy of 6 & 12 String guitar by Kottke.  Was
living in Venice California at the time, all entwined in the Fahey whirlwind
of madness.  Up to hearing that record, I had fantasies of being a great
guitarist - I thought I was good.  After hearing it, I knew the hill was too
steep - that's when I switched to songwriting. 

 

In my opinion, John was a real artist - of the highest order.  I've known
many artists, but John was right up there with Roy Buchanan for pure old
school, no-Hollywood artist vibe.  And John was absolutely and utterly
original when he came out with his first records in 1959.  Multitudes owe
John so much but so few nowadays know how much impact he had on acoustic
(and elect.) guitar playing as we know it.  Alternate tunings, use of the
Weissenborn, crazy electronics, taking the guitar where it had never been
before. 

 

Yeah.... sorry to see him go.

 

Merry Day After

 

Richard

RICHARD SALES

www.glasswing.com

www.richardsales.com

www.hayleysales.com

 

On Dec 26, 2008, at 10:09 AM, RP Collier wrote:






On Dec 26, 2008, at 9:57 AM, tEd R KiLLiAn wrote:




I was so sad to hear of his passing a few years back, and positively
astonished to hear that he had been living in Portland, Oregon.


I think he was mostly living in a motel just outside of Salem in the last
years.


http://www.washingtoncitypaper.com/special/fahey030901.html


BobC

 

 

 

 

 

 

 


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<body lang=3DEN-US link=3Dblue vlink=3Dblue style=3D'word-wrap: =
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-webkit-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'>Wow Richard great stories, I saw =
Fahey a
couple of times &nbsp;when I was in my teens back in the Day I say him =
the
night Jimmy Carter won the Presidency, at the Great American Music hall =
in San Francisco.
My Dad took me I believe and I can&#8217;t recall if my brother was =
there or
not, probably so. &nbsp;I just remember Fahey rambling a bit during the =
tunes
and saying how they should have elected Him president, and proceeded to =
explaining
bits of his policy between sets. I think he was a bit loaded but his =
playing
was transfixing to say the least, his sound was huge. Music you could =
simply
close your eyes and paint your own picture to. &nbsp;A &nbsp;true =
original who
Inspired me to explore the world of alternate tunings. What a gift that =
is. A absolutely
love John Fahey and I identify with him as the outsider and innovator =
you spoke
of Richard. &nbsp;Years later I was filling my gas tank near Cabrillo =
College a
few miles south of Santa Cruz when who should I see pumping gas but John =
Fahey.
It was definitely him, he had a pattern baldness comb- over thing going =
on that
was as unmistakable as Donald Trump&#8217; hair, in its own way. I =
regret being
too shy to go up to him and tell him how inspiring his music was, but =
then
again he seemed like a guy who would have preferred if you =
didn&#8217;t.<o:p></o:p></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'>Bill<o:p></o:p></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'><o:p>&nbsp;</o:p></span></font></p>

<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'> =
RICHARD SALES
[mailto:richard@glasswing.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Friday, December =
26, 2008
11:26 AM<br>
<b><span style=3D'font-weight:bold'>To:</span></b><st1:PersonName =
w:st=3D"on">
 Loopers-Delight@loopers-delight.com</st1:PersonName><br>
<b><span style=3D'font-weight:bold'>Subject:</span></b> Re: guitar drone =
music
(Fahey)</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>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>That's correct. &nbsp;I went to the Gospel Mission (<st1:place =
w:st=3D"on"><st1:City
 w:st=3D"on">Salem</st1:City>, <st1:State =
w:st=3D"on">OR</st1:State></st1:place>)
when he was homeless and helped revive him! &nbsp;(around 93 I think).
&nbsp;Brought him to <st1:City w:st=3D"on"><st1:place =
w:st=3D"on">Portland</st1:place></st1:City>,
fed him, encouraged him, hired him to record guitar stuff. &nbsp;John =
and I
were friends from 1968. &nbsp;I recorded for Takoma, never released - =
not due
to the music etc but... a long funny story. &nbsp;We were good friends, =
went
turtle hunting back in the day.... &nbsp;<o:p></o:p></span></font></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>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>I have unreleased recordings of John from just before his Sonic =
Youth
phase. &nbsp;SOMEday...<o:p></o:p></span></font></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'>I heard the first printed copy of 6 &amp; 12 String guitar by =
Kottke.
&nbsp;Was living in <st1:place w:st=3D"on"><st1:City =
w:st=3D"on">Venice</st1:City> <st1:State
 w:st=3D"on">California</st1:State></st1:place> at the time, all =
entwined in the
Fahey whirlwind of madness. &nbsp;Up to hearing that record, I had =
fantasies of
being a great guitarist - I thought I was good. &nbsp;After hearing it, =
I knew
the hill was too steep - that's when I switched to =
songwriting.&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'><o:p>&nbsp;</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'>In my opinion, John was a real artist - of the highest order.
&nbsp;I've known many artists, but John was right up there with Roy =
Buchanan
for pure old school, no-Hollywood artist vibe. &nbsp;And John was =
absolutely
and utterly original when he came out with his first records in 1959.
&nbsp;Multitudes owe John so much but so few nowadays know how much =
impact he
had on acoustic (and elect.) guitar playing as we know it. =
&nbsp;Alternate tunings,
use of the Weissenborn, crazy electronics, taking the guitar where it =
had never
been before.&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'><o:p>&nbsp;</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'>Yeah.... sorry to see him go.<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'><o:p>&nbsp;</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'>Merry Day 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'><o:p>&nbsp;</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'>Richard<o:p></o:p></span></font></p>

</div>

<div>

<div>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:11.0pt;
font-family:Arial'>RICHARD SALES</span></font><font size=3D2><span
style=3D'font-size:11.0pt'><o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D2 color=3D"#908e38" face=3D"Times New =
Roman"><span
style=3D'font-size:11.0pt;color:#908E38'><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></span></font><fon=
t
size=3D2><span style=3D'font-size:11.0pt'><o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D2 color=3D"#908e38" face=3D"Times New =
Roman"><span
style=3D'font-size:11.0pt;color:#908E38'><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></span></fon=
t><font
size=3D2><span style=3D'font-size:11.0pt'><o:p></o:p></span></font></p>

</div>

<div>

<p class=3DMsoNormal><font size=3D2 color=3D"#908e38" face=3D"Times New =
Roman"><span
style=3D'font-size:11.0pt;color:#908E38'><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></span></font>=
<font
size=3D2><span style=3D'font-size:11.0pt'><o:p></o:p></span></font></p>

</div>

</div>

<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>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>On Dec 26, 2008, at 10:09 AM, RP Collier =
wrote:<o:p></o:p></span></font></p>

</div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><br>
<br>
<o:p></o:p></span></font></p>

<div>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><br>
On Dec 26, 2008, at 9:57 AM, tEd &reg; KiLLiAn wrote:<br>
<br>
<br>
<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>I was so sad to hear of his passing a few years back, and =
positively
astonished to hear that he had been living in <st1:place =
w:st=3D"on"><st1:City
 w:st=3D"on">Portland</st1:City>, <st1:State =
w:st=3D"on">Oregon</st1:State></st1:place>.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'><br>
I think he was mostly living in a motel just outside of <st1:City =
w:st=3D"on"><st1:place
 w:st=3D"on">Salem</st1:place></st1:City> in the last years.<br>
<br>
<br>
<a =
href=3D"http://www.washingtoncitypaper.com/special/fahey030901.html">http=
://www.washingtoncitypaper.com/special/fahey030901.html</a><br>
<br>
<br>
BobC<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'><o:p>&nbsp;</o:p></span></font></p>

<span style=3D'orphans: 2;text-align:auto;widows: =
2;-webkit-border-horizontal-spacing: 0px;
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References: <BAY129-W5681F06B3B8A6C1659D1E2C3EB0@phx.gbl>
Subject: RE: Fahey
Date: Fri, 26 Dec 2008 18:53:13 -0800
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Priceless..

 

  _____  

From: samba - [mailto:sambacomet@hotmail.com] 
Sent: Friday, December 26, 2008 2:00 PM
To: loopers-delight@loopers-delight.com
Subject: Fahey

 

   I saw him several times in DC area,and he never spoke o the audience at
all which I really dug I don;t care for stage patter.  He was definately
drinking,and played beautifully. At one show at the end he just sat there.
The audience eventually fidgeted nervoulsy,he said ,that's it you can go
home now.












 


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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'>Priceless&#8230;.<o:p></o:p></span><=
/font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
style=3D'font-size:
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<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'> samba =
-
[mailto:sambacomet@hotmail.com] <br>
<b><span style=3D'font-weight:bold'>Sent:</span></b> Friday, December =
26, 2008
2:00 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> =
Fahey</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>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D2 =
face=3DVerdana><span
style=3D'font-size:10.0pt;font-family:Verdana'>&nbsp;&nbsp; I saw him =
several
times in DC area,and he never spoke o the audience at all which I really =
dug I
don;t care for stage patter.&nbsp; He was definately drinking,and played
beautifully. At one show at the end he just sat there. The audience =
eventually
fidgeted nervoulsy,he said ,that's it you can go home =
now.<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DVerdana><span =
style=3D'font-size:10.0pt;
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<br>
<br>
<br>
<br>
<br>
<br>
<span =
id=3D"EC__ctl0_ContentPlaceHolder1_NewestQuotes1_lblMessage"><o:p></o:p><=
/span></font></p>

</span>

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

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 08:12:51 2008
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Date: Sat, 27 Dec 2008 03:12:49 -0500
From: Mikkoz <biffoz@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: guitar drone music (Fahey)
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I got to see John somewhere in the 90's at Kuumbwa!  I'm I'm surprised Bill
or Rick didn't go to that one.  I was surprised and delighted to have the
chance to finally see him and I encouraged several others to go.  So we're
all sitting there and he's playing these beautiful sssllllloooooowwww pieces
with huge pregnant pauses between the ringing notes, and I realized that my
wife and several others were becoming uncomfortable with the pace of the
show, and it became funnier and funnier to me, because it was so amazingly
brilliant.  There was a song called Sweet Susan or something similar, and in
a big hole in the sound, the telephone in the house rang quite loudly (old
school ring), and John casually commented "Maybe that's HER . . . " without
a hiccup, and I started busting up and people shushed me, my wife was poking
me.  It was all so magical.  I long to play such languid, sweet, wise and
strangely still music.

Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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I got to see John somewhere in the 90&#39;s at Kuumbwa!&nbsp; I&#39;m I&#39=
;m surprised Bill or Rick didn&#39;t go to that one.&nbsp; I was surprised =
and delighted to have the chance to finally see him and I encouraged severa=
l others to go.&nbsp; So we&#39;re all sitting there and he&#39;s playing t=
hese beautiful sssllllloooooowwww pieces with huge pregnant pauses between =
the ringing notes, and I realized that my wife and several others were beco=
ming uncomfortable with the pace of the show, and it became funnier and fun=
nier to me, because it was so amazingly brilliant.&nbsp; There was a song c=
alled Sweet Susan or something similar, and in a big hole in the sound, the=
 telephone in the house rang quite loudly (old school ring), and John casua=
lly commented &quot;Maybe that&#39;s HER . . . &quot; without a hiccup, and=
 I started busting up and people shushed me, my wife was poking me.&nbsp; I=
t was all so magical.&nbsp; I long to play such languid, sweet, wise and st=
rangely still music. <br>
<br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;R=
unning scared from all the usual distractions!&quot;<br>

------=_Part_107757_8059039.1230365569179--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 09:22:10 2008
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Date: Sat, 27 Dec 2008 04:18:15 -0500
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 Saturday, December 27 at 6:00
am EST / GMT-5 / ITZ-5.  That's less than two hours from now.  I will
continue the special on Sequences 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 to WMUH on-line at http://www.muhlenberg.edu/wmuh and click one
of the LISTEN NOW links at the top right corner of the page or go
directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm
or
http://muhlenberg.edu/wmuh/WMUH.ram

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 10:07:25 2008
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Date: Sat, 27 Dec 2008 11:07:24 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: bidule question
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It seems a lot of music software doesn't work well under Vista. You
can check out at the Bidule forum what the status is regarding Bidule.
I only use XP for music under Windows.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Fri, Dec 26, 2008 at 11:40 PM, J Johans <parispro00@hotmail.com> wrote:
> thanks per -  i tried it on my mac and it works just fine, so i know its
> just something in vista-
> atleast now i get to play around =) - it was very rewarding to hear my piano
> trigger tones in my computer, thanks for your help and for introducing me to
> bidule and mainstage - i should get my new mac in about a week and ill let
> you know how it handles the multiple patches
>
> fro
>
>> Date: Fri, 26 Dec 2008 11:06:33 +0100
>> From: perboysen@gmail.com
>> To: Loopers-Delight@loopers-delight.com
>> Subject: Re: bidule question
>>
>> Start by doing a double check. Does the two FireFace MIDI input ports
>> show up in other applications? Do you have the latest driver by RME?
>> Do you have the latest version of Bidule?
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>> On Fri, Dec 26, 2008 at 5:35 AM, J Johans <parispro00@hotmail.com> wrote:
>> > sorry, im waiting to be allowed into the bidule forumn (heaven help
>> > them)
>> >
>> > im just trying to connect my midi keyboard to an instrument inside
>> > bidule so
>> > i can trigger tones
>> >
>> > when i go to choose MIDI IN under midi devices bidule, i see my fireface
>> > midi in - but it wont let me drag it to the workspace..?
>> > it looks normal, no italics - but wont let me use it -
>> >
>> > this is how i access the midi IN on my audio interface, right? keyboard
>> > plugged into midi in, then in bidule...midi in ---> instrument midi in
>> >
>> > under bidule/midi devices/input - there is only 1 choice, my fireface in
>> > -
>> > and it wont let me use it
>> > under bidule/midi devided/output - there are 2 choices, my fireface and
>> > then
>> > microsoft wavetable syth - the MS one i can drop onto the
>> > workspace...but
>> > not the fireface
>> >
>> > hope im missing something silly, any ideas?
>> > thanks
>> > fro
>> >
>> > ________________________________
>> > Send e-mail faster without improving your typing skills. Get your
>> > Hotmail(R)
>> > account.
>>
>
>
> ________________________________
> Send e-mail anywhere. No map, no compass. Get your Hotmail(R) account now.

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Hi,

This morning my Google Alert subscription turned up this old link for
me and it hit me that the video's music is a nice example of one of
the techniques discussed in this thread:
http://www.youtube.com/watch?v=pODg0W3YHH8

Live Looping strategy:
In this tune the sax is played through an EDP set to "MooreLoops = 3".
The loops are initially empty but in my mind I envision them as three
particular chords (don't remember the key now, but if that was D minor
they should go as  Bb, C and D minor - yep, simple stuff). In the
beginning of the track I play melodies lines and punch in notes now
and then into the loops (using SUS Substitute in EDP Replace Mode with
"Secondary Feedback" somewhere around 70 percent). I make sure to
toggle a new loop before my melody improvisation reaches a note that I
want to add to this particular loops "chord". As the piece develops
these three loops are being filled up with  perculating chords and I
need to be more careful to jump around the loops in a manner that
makes musical sense regarding the "chords" they represent.

Recording strategy:
The recording strategy was to have the sax direct sound and the EDP
live looping output recorded on two different mono channels. The EDP
recording was then run through a software filterbank plug-in, the one
form OhmForce whatever-its-name-is, that combines dynamic filtering
triggered both from an envelope follower to the sax input and from
beat synced LFOs.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From q1s@eircom.net  Sat Dec 27 11:12:56 2008
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From: "mr.ahmad" <q1s@eircom.net>
Reply-To: <mr.ahmadaba@gmail.com>
To: .
Subject: PROPOSSITION CONFIDENTIALE
Date: Sat, 27 Dec 2008 11:06:15 +0000
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U BUREAU DE MR, AHMAD ABBA
CHEF COMPTABLE SECTION AFAIRE ETRANGER
(BANQUE INTERNATIONALE DU BURKINA. B.I.B)
OUAGADOUGOU-BURKINA FASO.

Très cher monsieur;

Je suis MR, AHMAD ABBA  CHEF COMPTABLE SECTION AFAIRE ETRANGER je viens à vous dans ma recherche privée pour qu'une personne dign de confiance et honorable manipule ces affaires confidentielles qui nécessitent une confiance absolue. Je sollicite beaucoup plus votre confiance dans cette transaction, c'est en vertu de votre nature et ceci étant un SECRET tout à fait CONFIDENTIEL. Bien que je sache qu'une transaction de cette envergure attirera à n'importe qui,appréhension et inquiétude;mais je vous assure que tout ira bien à la fin des jours. j ai  décidés de vous contacter par votre boîte due à l'urgence de cette transaction. 
LA PROPOSITION EST LA SUIVANTE : 
 
J ai découvert un compte dans notre section qui n'a pas été opérée pendant les 6 dernières années.éyant un montant $ 12 000 000 USD(douze millions dollars Américains). Dans ma recherche personnel, j'ai découvert que ce compte
appartient à un défunt Mr MorrisThompson un grand industriel américain et un résidant de
l'Alaska, qui a malheureusement perdu sa vie dans l'accident d'avion du vol 261 de lignes aériennes de l'Alaska qui s'est brisé le 31 janvier 2000, y compris son épouse. ayant déposé ici avec nous à La BANQUE INTERNATIONALE DU BURKINA B.I.B , une somme de $ 12 000 000 USD(douze millions dollars Americains) que la banques'attendait à ce qu un de ses proches parents se présente pour réclamer les fonds déposés comme étant bénéficiaire. Des efforts valables ont été faits par la BANQUE INTERNATIONALE pour contacter la famille ou les parents du défunt Morris Thompson mais aucun succès. Il est en raison de la possibilité perçue de ne pouvoir localiser les membres  de la famille du défunt je vous présise bien que jusq'à ce jour aucune épouse ni enfant ne sest présenté à
nous . La gestion sous l'influence de notre Président et des membres du conseil  d'administration, font l'arrangement pour que les fonds avoués soient inclus et seront alloués au gouvernement où  seront donnés plus tard au trésor public pour le financement des conflits et des guerres en Afrique occidentale. 
 
Afin d'éviter ce développement négatif, je cherchons maintenant votre permission de vous faire tenir en tant que proche des parents du  défunt Morris Thompson de sorte que ces
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acceptable  par vous, ne faites pas l'avantage anormal de la confiance que je vous avons accordée , alors  venez immédiatement à moi avec toute bonté.Veuillez me fournir amplement votre N° de téléphone pour  plus de confidentialité et le numéro de fax, nous
repondre en cliquant sur l'adresse de messagerie sis-dessous mentionée pour plus deconfidentialité:  ce qui signifiera vos intentions immédiatement je vous prions de croire en l'assurance de notre considération et a notre  sincerité vous devez cliquésur ce lien si-dessous pour quelques détailles  relatifs au sujet de notre défunt client ceci nous permet de vous rassurer  que cette affaire est dénuée de tout risque à 100%.
http://www.cnn.com/2000/US/02/01/alaska.airlines.list/

Tout en espérant que notre proposition retiendra votre attention , et qu une  suite favorable nous sera resevé, recevez nos salutations les plus distingués.je vous assure une  fois de plus que tout ira bien à la fin de cette transaction.

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Mr.Ahmad


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From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 11:50:05 2008
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Chris Cohn wrote:
"I saw him several times in DC area,and he never spoke o the audience at 
all which I really dug I don;t care for stage patter.  He was definately 
drinking,and played beautifully. At one show at the end he just sat 
there. The audience eventually fidgeted nervoulsy,he said ,that's it you 
can go home now."


You story cracked me up, Chris and reminded me of a story that Martin 
Simpson used to tell about ending a performance.


He told us that once he was playing some outdoor summer festival in 
England somewhere
and it was just pissing down rain at an outdoor venue.

Everyone had gone home because of the rain but he figured that if he 
didn't perform he wouldn't get paid so
he went ahead and played his entire set.

There was only one old guy out in the audience.

Martin played his whole set to just this one guy sitting in the pouring 
rain and finally he said,

"Hey man,  you are the only person out there.  Would you like to make 
any requests since you are my only audience?"

.......................

The old man replied,   "Yes, would you quit fookin' playing so that I 
can put all these chairs away and go home."



*********
By the way,  if you ever get a chance to see Martin Simpson perform, no 
matter what kind of music you are into............go see him.
He's an amazing performer and one of the best story tellers I've ever 
heard.  Being on the road with him was just such a delight
as he can just talk and talk about fascinating things.   He retunes his 
guitars between every single song of his set,  all the while
telling amazing stories as he , seemingly,  tunes unconciously.   One of 
the best performers and musicians I've had the chance
to see or play with.

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 11:55:55 2008
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All these John Fahey stories are blowing my mind.

I loved his music and never got to see him play (and no, Bill,  
jealously I have to admit that I wasn't with
you and Dad at that show,  at least that I can remember).

I still am very, very heavily influenced by his (and Joni Mitchell's and 
Maurice Ravel's) sense of dissonance.

Lately, i've been playing the simplest open tuning sus chord kinds of 
pieces on my guitar
(truly wimpy, sophmoric and pathetic by contrast with Fahey's music, of 
course)

I owned 'Day Have Gone By,    Volume Six' and just listened obsessively 
to it.

I just found out that there is a really extensive John Fahey collection on
Rhapsody,  the subscription music site that I listen to.   That surprised
and pleased the hell out of me.

Long live John Fahey!!!!!!

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 13:37:23 2008
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Ted, I think you are wrong about Medford's position near the pinnacle of
boringness. I think Central Point actually has that honor (that's a Medford
inside joke, for the rest of you).  There are a lot of great musicians in
Medford and Ashland, it's just that the audiences need to be nurtured. And,
last I looked (in 2001), the press there was fairly willing to promote
things that seemed somewhat interesting (heck, even Carl's Jr. was able to
get covered in the restaurant review section there!) I'm tempted to say, "if
you don't like the news, go out and make some", but in fact, I left Medford
and thought it was pretty freaking boring myself.  Although I did get to
play out a f*ckload more than I do now, and in fact I got to see a *lot*
more great music at the easy-to-handle Britt Festival and Craterion than I
ever do in ridiculously-difficult-to-get-to-and-expensive Manhattan.

Actually, I think that pockets of musical adventurousness are few and far
between, and that most places are pretty much wastelands (ok, "civilized
places inhabited by energetic, beautifully crafted and utterly predictable
rock mutations" = wasteland in this context). The only US towns where you
could hear more than 1 "outside music event" (for lack of a more precise
term) per month (or even per year) are probably a couple of the biggest
cities (NY, SF, Philly, I'm guessing Boston, I'm guessing *not* LA - and
even NYC's outside music is almost all gone from Manhattan and now located
in Williamsburg) and a couple of outliers like Santa Cruz.

-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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Ted, I think you are wrong about Medford&#39;s position near the pinnacle of boringness. I think Central Point actually has that honor (that&#39;s a Medford inside joke, for the rest of you).&nbsp; There are a lot of great musicians in Medford and Ashland, it&#39;s just that the audiences need to be nurtured. And, last I looked (in 2001), the press there was fairly willing to promote things that seemed somewhat interesting (heck, even Carl&#39;s Jr. was able to get covered in the restaurant review section there!) I&#39;m tempted to say, &quot;if you don&#39;t like the news, go out and make some&quot;, but in fact, I left Medford and thought it was pretty freaking boring myself.&nbsp; Although I did get to play out a f*ckload more than I do now, and in fact I got to see a *lot* more great music at the easy-to-handle Britt Festival and Craterion than I ever do in ridiculously-difficult-to-get-to-and-expensive Manhattan. <br>
<br>Actually, I think that pockets of musical adventurousness are few and far between, and that most places are pretty much wastelands (ok, &quot;civilized places inhabited by energetic, beautifully crafted and utterly predictable rock mutations&quot; = wasteland in this context). The only US towns where you could hear more than 1 &quot;outside music event&quot; (for lack of a more precise term) per month (or even per year) are probably a couple of the biggest cities (NY, SF, Philly, I&#39;m guessing Boston, I&#39;m guessing *not* LA - and even NYC&#39;s outside music is almost all gone from Manhattan and now located in Williamsburg) and a couple of outliers like Santa Cruz.<br>
<br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>

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Date: Sat, 27 Dec 2008 13:54:04 +0000
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Subject: Re: WAH WAHS
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Rainer Straschill wrote:
> Rick,

> the frequency band is sweepable). Then again, I would assume a Line6
> FM4 might work very well for the purpose of having a non-typical wah
> with a huge range - 

yep, I have the rack version Filter Pro.
As it has the line6 pedal morph thing you 
can accurately program each end of the sweep
for freq, Q and volume.
I don't think the range is spectacular tho'.

Some nice autowahs in the Zoom 1201, there's a 
nice dark Zappaesque envelope filter and some
more extreme triggered filters, one of which is great for bass sounds.

My current "funk-filter" of choice is the Electro Harmonix Stereo Polyphase.
The envelope following phase has a nice wah colour, but doesn't
have the jumps in volume that a regular filter wah can give.

Special mention to the Electro Harmonix Talking Pedal.
2 wahs run in parallel to give a series of vowel sounds.
Again, there's less problem with vol jumps.
Must be the rarest of EH pedals tho'. 

andy butler

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Warren Sirota wrote:

> Now, if you were using a pitch wheel to control the wah, or a 

most don't send the LSB.
...and anyway, I doubt they'd send more than 128 commands per sweep

Anyway Xavier (LG guy) says that 8 bits is about the max practical res for a footcontroller.

andy

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 14:23:11 2008
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Date: Sat, 27 Dec 2008 14:28:23 +0000
From: andy butler <akbutler@tiscali.co.uk>
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To:  Loopers-Delight@loopers-delight.com
Subject: Re: guitar drone music
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my suggestion

..don't listen to any guitarists..

:-)

andy butler




Erdem Helvacioglu wrote:
> hi,
>  
> i am recording a new guitar-drone record for a german label. i was 
> wondering which contemporary artists i should listen to? any suggestions?
>  
> thanks a lot and best regards.
>  
> Erdem Helvacioglu
> www.erdemhelvacioglu.com <http://www.erdemhelvacioglu.com>
> www.myspace.com/erdemhelvacioglu <http://www.myspace.com/erdemhelvacioglu>

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 14:53:54 2008
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Subject: Re: bidule question
Date: Sat, 27 Dec 2008 09:53:51 -0500
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Ok where would I get a copy of Windows XP? Is this legit do you think?
 http://cdsfu.com/index.php?categoryID=87
seems cheap.

Jeff

----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Saturday, December 27, 2008 5:07 AM
Subject: Re: bidule question


> It seems a lot of music software doesn't work well under Vista. You
> can check out at the Bidule forum what the status is regarding Bidule.
> I only use XP for music under Windows.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Fri, Dec 26, 2008 at 11:40 PM, J Johans <parispro00@hotmail.com> wrote:
>> thanks per -  i tried it on my mac and it works just fine, so i know its
>> just something in vista-
>> atleast now i get to play around =) - it was very rewarding to hear my 
>> piano
>> trigger tones in my computer, thanks for your help and for introducing me 
>> to
>> bidule and mainstage - i should get my new mac in about a week and ill 
>> let
>> you know how it handles the multiple patches
>>
>> fro
>>
>>> Date: Fri, 26 Dec 2008 11:06:33 +0100
>>> From: perboysen@gmail.com
>>> To: Loopers-Delight@loopers-delight.com
>>> Subject: Re: bidule question
>>>
>>> Start by doing a double check. Does the two FireFace MIDI input ports
>>> show up in other applications? Do you have the latest driver by RME?
>>> Do you have the latest version of Bidule?
>>>
>>> Greetings from Sweden
>>>
>>> Per Boysen
>>> www.boysen.se (Swedish)
>>> www.looproom.com (international)
>>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>>
>>>
>>>
>>> On Fri, Dec 26, 2008 at 5:35 AM, J Johans <parispro00@hotmail.com> 
>>> wrote:
>>> > sorry, im waiting to be allowed into the bidule forumn (heaven help
>>> > them)
>>> >
>>> > im just trying to connect my midi keyboard to an instrument inside
>>> > bidule so
>>> > i can trigger tones
>>> >
>>> > when i go to choose MIDI IN under midi devices bidule, i see my 
>>> > fireface
>>> > midi in - but it wont let me drag it to the workspace..?
>>> > it looks normal, no italics - but wont let me use it -
>>> >
>>> > this is how i access the midi IN on my audio interface, right? 
>>> > keyboard
>>> > plugged into midi in, then in bidule...midi in ---> instrument midi in
>>> >
>>> > under bidule/midi devices/input - there is only 1 choice, my fireface 
>>> > in
>>> > -
>>> > and it wont let me use it
>>> > under bidule/midi devided/output - there are 2 choices, my fireface 
>>> > and
>>> > then
>>> > microsoft wavetable syth - the MS one i can drop onto the
>>> > workspace...but
>>> > not the fireface
>>> >
>>> > hope im missing something silly, any ideas?
>>> > thanks
>>> > fro
>>> >
>>> > ________________________________
>>> > Send e-mail faster without improving your typing skills. Get your
>>> > Hotmail(R)
>>> > account.
>>>
>>
>>
>> ________________________________
>> Send e-mail anywhere. No map, no compass. Get your Hotmail(R) account 
>> now.
>


--------------------------------------------------------------------------------



No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date: 12/26/2008 
1:01 PM

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 15:07:57 2008
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From: Bill Fox <billyfox@soundscapes.us>
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http://soundscapes.us/amfm/playlists/2008/081227.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 #143                December 27, 2008.

On this program, I continued the special on Sequences electronic music
magazine.  Each contemporary issue comes with a CD.  However, the early
isses came with a cassette.  The cassettes from issues one through
thirteen have been remastered and are now available on CDR in plastic
slip covers with artwork and track details.  Details are at:
http://sequencesmagazine.com


Phase I/Space:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
VA [Verilian Sands]  Love In a Cage       Sequences No. 4
VA [Forgas]          Poltergeist          Sequences No. 4
VA [TNR]             The Chessboard       Sequences No. 4
Jean-Michel Jarre    Part IV              Oxygene (Dreyfus/Polydor)
Jean-Michel Jarre    Part V               Oxygene (Dreyfus/Polydor)
Jean-Michel Jarre    Part VI              Oxygene (Dreyfus/Polydor)
Tangerine Dream      Wisdom and Tragedy   Tangram 2008 (Eastgate)
Kees Aerts           Move Forward and     If One Door Closes (Groove)
                       Discover
Kees Aerts           Another Door Opens   If One Door Closes (Groove)


Phase II/Eclectic:

pre-empted


Phase III/Progressive Rock:

ARTIST               TRACK                ALBUM (label)
==================== ==================== ==============================
Marillion            Pseudo Silk Kimono   Misplaced Childhood (Capitol)
Marillion            Keyleigh             Misplaced Childhood (Capitol)
Marillion            Lavender             Misplaced Childhood (Capitol)
Marillion            Bitter Suite         Misplaced Childhood (Capitol)
Marillion            Heart of Lothian     Misplaced Childhood (Capitol)
Spock's Beard        June                 The Kindness of Strangers
                                            (Radiant)
Marillion            Waterhole            Misplaced Childhood (Capitol)
Marillion            Lords of the         Misplaced Childhood (Capitol)
                       Backstage
Marillion            Blind Curve          Misplaced Childhood (Capitol)
Marillion            Childhood's End?     Misplaced Childhood (Capitol)
Marillion            White Feather        Misplaced Childhood (Capitol)
Unifaun              Welcome To the Farm  Unifaun (ProgRock)


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

On the next show, I will continue the special on the sampler CDRs that
come with each issue of Sequences 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 one of the LISTEN NOW links
at the top right corner of the page or go directly to:
rtsp://helix.muhlenberg.edu:554/broadcast/live.rm or
http://muhlenberg.edu/wmuh/WMUH.ram
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.
======================================================================

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<p><img src="https://www.paypal.com/fr_XC/i/logo/paypal_logo.gif"><br>
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Subject: Re: Devi Ever (was Re: distortion, overdrive,fuzz,crunch,special
  sauce, secret goo)
References: <494C7A44.8020200@cruzio.com> <588ce11d0812192138jf023d7bg1d720f1ecd0eefca@mail.gmail.com> <494CD2CB.9030902@tiscali.co.uk> <9ab0c76f0812200344v139fd13eud1209f87081eef58@mail.gmail.com> <000f01c962a9$f5debc60$0202a8c0@YOUR08D5303051> <p06240801c578f4c26bc9@[10.0.1.4]> <495453CA.9070108@mhorse.com> <p06240800c57a897d2721@[10.0.1.4]>
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Lovely collection, for sure. When the Artifacts came out I couldn't 
believe the price and wanted to snap up a handful, still wish I had. 
Buying the TBD was a lark since I'm not even playing electric, but it 
opened my eyes to the WORLD of crazy fuzz, and eventually down the path 
of creating noisier music in general.

thanks for the nice words.

do the album, bro!!!

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

>
> Here's the rundown: Effector 13 Truly Beautiful Disaster, Torn's 
> Peaker, Feed Back Loop Oscillator, and Synth Mangler; Devi Ever OK, 
> BIT, ND, 25, 05/25, Hyperion, US, and JP.  Also a Peep and a PeepPeep.

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Subject: Re: Funny Gig Stories     was:   John Fahey
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> By the way,  if you ever get a chance to see Martin Simpson
> perform, no matter what kind of music you are
> into............go see him.
> He's an amazing performer and one of the best story
> tellers I've ever heard.  

I agree, I've seen him several times, always very entertaining.

On the theme of funny gig stories;  I used to play with a theatrical punk band in the 80's.  We were playing a little gig at a small village hall.  At one point mid way during one of our songs (about a terrorist), there's a planned explosion noise, the singer throws a smoke bomb, and we all fall to the floor.  Normally, after a short pause, the bass player starts playing the riff again, and one by one, we all stand up and finish the song.  

However, on this occasion, just as the smoke is clearing, and before the song restarts, the compere walks back on with the raffle drum, and before we know it, someone from the audience has come up onto the stage and is pulling out tickets, and they're calling raffle numbers while we're lying on the floor, rolling around with laughter by this stage.  We felt obliged to lie there until the end of the raffle, but made a hasty exit before the ventiloquist begins.

Great days, always brings a tear to eye when I think about it.

Stephen



      

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Subject: Re: here and now / evolving loops
Date: Sat, 27 Dec 2008 17:37:21 +0100
Cc: loopers-delight <Loopers-Delight@loopers-delight.com>
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Il giorno 27/dic/08, alle ore 11:50, "Per Boysen"  
<perboysen@gmail.com> ha scritto:

> Hi,
>
> This morning my Google Alert subscription turned up this old link for
> me and it hit me that the video's music is a nice example of one of
> the techniques discussed in this thread:
> http://www.youtube.com/watch?v=pODg0W3YHH8
>
> Live Looping strategy:
> In this tune the sax is played through an EDP set to "MooreLoops = 3".
> The loops are initially empty but in my mind I envision them as three
> particular chords (don't remember the key now, but if that was D minor
> they should go as  Bb, C and D minor - yep, simple stuff). In the
> beginning of the track I play melodies lines and punch in notes now
> and then into the loops (using SUS Substitute in EDP Replace Mode with
> "Secondary Feedback" somewhere around 70 percent). I make sure to
> toggle a new loop before my melody improvisation reaches a note that I
> want to add to this particular loops "chord". As the piece develops
> these three loops are being filled up with  perculating chords and I
> need to be more careful to jump around the loops in a manner that
> makes musical sense regarding the "chords" they represent.
>
> Recording strategy:
> The recording strategy was to have the sax direct sound and the EDP
> live looping output recorded on two different mono channels. The EDP
> recording was then run through a software filterbank plug-in, the one
> form OhmForce whatever-its-name-is, that combines dynamic filtering
> triggered both from an envelope follower to the sax input and from
> beat synced LFOs.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>

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> Thanks a lot to all !
> It was interesting knowing how do you manage with harmony.
>
> Fabio
> www.eterogeneo.com
>
>
> Il giorno 27/dic/08, alle ore 11:50, "Per Boysen"  
> <perboysen@gmail.com> ha scritto:
>
>> Hi,
>>
>> This morning my Google Alert subscription turned up this old link for
>> me and it hit me that the video's music is a nice example of one of
>> the techniques discussed in this thread:
>> http://www.youtube.com/watch?v=pODg0W3YHH8
>>
>> Live Looping strategy:
>> In this tune the sax is played through an EDP set to "MooreLoops =  
>> 3".
>> The loops are initially empty but in my mind I envision them as three
>> particular chords (don't remember the key now, but if that was D  
>> minor
>> they should go as  Bb, C and D minor - yep, simple stuff). In the
>> beginning of the track I play melodies lines and punch in notes now
>> and then into the loops (using SUS Substitute in EDP Replace Mode  
>> with
>> "Secondary Feedback" somewhere around 70 percent). I make sure to
>> toggle a new loop before my melody improvisation reaches a note  
>> that I
>> want to add to this particular loops "chord". As the piece develops
>> these three loops are being filled up with  perculating chords and I
>> need to be more careful to jump around the loops in a manner that
>> makes musical sense regarding the "chords" they represent.
>>
>> Recording strategy:
>> The recording strategy was to have the sax direct sound and the EDP
>> live looping output recorded on two different mono channels. The EDP
>> recording was then run through a software filterbank plug-in, the one
>> form OhmForce whatever-its-name-is, that combines dynamic filtering
>> triggered both from an envelope follower to the sax input and from
>> beat synced LFOs.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>

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Date: Sat, 27 Dec 2008 09:57:08 -0600
From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Re: OT The historic roots of Santa Claus
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--Apple-Mail-3-830642243
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 >Mircea Eliade's book  "Shamanism,Archaic  Techniiques of Ecstacy"  
1951,the first scholarly study on the subject, says >that the  
traditional definitio f a Shaman is smeone wh can INtentionally go to  
the other world and bring something back >,usually for healing.
>  The two most common metaphors for making this journey are climbing  
> up,and back down the World Tree,and going out the  the Smokehole,or  
> chimney,and coming back with the gifts from the Spirit World.
>

It's really cool you're even aware of who Eliade is (I'm not trying  
to be condescending in any way, it's just that people outside of the  
field of religious studies typically have never heard of him.), and  
that book (as well as his book on Yoga) is certainly one of his  
better ones. Be careful, though, in assuming that all his talk about  
World Trees/World Axes and so forth is necessarily accepted as true  
these days. Still, I think Eliade is worth reading, so cool...good  
for you. Check out Myth of the Eternal Return or The Sacred and  
Profane as well...two other classics in the field.

Jeff
--Apple-Mail-3-830642243
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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><FONT =
class=3D"Apple-style-span" face=3D"Verdana" size=3D"4"><SPAN =
class=3D"Apple-style-span" style=3D"font-size: 13.3333px;">&gt;Mircea =
Eliade's book=A0 "Shamanism,Archaic=A0 Techniiques of Ecstacy" 1951,the =
first scholarly study on the subject, says &gt;that the traditional =
definitio f a Shaman is smeone wh can INtentionally go to the other =
world and bring something back &gt;,usually for =
healing.</SPAN></FONT></DIV><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; "><SPAN =
class=3D"Apple-style-span" style=3D"font-family: Verdana; font-size: =
13.3333px; ">=A0The two most common metaphors for making this journey =
are climbing up,and back down the World Tree,and going out the=A0 the =
Smokehole,or chimney,and coming back with the gifts from the Spirit =
World.</SPAN><BR style=3D"font-family: Verdana; font-size: 13.3333px; =
"><SPAN class=3D"Apple-style-span" style=3D"font-family: Verdana; =
font-size: 13.3333px; ">=A0 =
=A0</SPAN></SPAN></BLOCKQUOTE><BR></DIV><DIV>It's really cool you're =
even aware of who Eliade is (I'm not trying to be condescending in any =
way, it's just that people outside of the field of religious studies =
typically have never heard of him.), and that book (as well as his book =
on Yoga) is certainly one of his better ones. Be careful, though, in =
assuming that all his talk about World Trees/World Axes and so forth is =
necessarily accepted as true these days. Still, I think Eliade is worth =
reading, so cool...good for you. Check out Myth of the Eternal Return or =
The Sacred and Profane as well...two other classics in the =
field.</DIV><DIV><BR =
class=3D"khtml-block-placeholder"></DIV><DIV>Jeff</DIV></BODY></HTML>=

--Apple-Mail-3-830642243--

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Date: Sat, 27 Dec 2008 10:01:02 -0600
From: Jeff Shirkey <jcshirke@midway.uchicago.edu>
Subject: Re: OT   The Roots of Christmas
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On Dec 25, 2008, at 5:34 PM, Rick Walker wrote:

> from a scholar I know:
>
> "Don't forget the root of Christmas too!  December 25 is actually  
> the birthday of the Persian Sun God, Mithras, not Jesus.

More to the point, imo, is that both the birthday of Mithras and  
Jesus are celebrated when they are because the date marks the Winter  
Solstice, the rebirth of light in the world. Appropriate, huh? (But,  
yes, the Christians--Constantine in particular--co-opted the Greek  
mystery cults and Christianized them.)

Recommended reading on this score: James Frazer, The Golden Bough. A  
devastating critique of Christianity is hidden amongst those  
thousands of pages about pagan gods, goddesses, myths, and rituals.

Jeff

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 17:31:13 2008
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References: <49541872.50304@cruzio.com> <81CD339E-D9EA-4C52-92FB-22D2495C88FA@midway.uchicago.edu>
Subject: Re: OT   The Roots of Christmas
Date: Sat, 27 Dec 2008 10:31:09 -0700
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----- Original Message -----=20
> Recommended reading on this score: James Frazer, The Golden Bough. A =20
> devastating critique of Christianity is hidden amongst those =20
> thousands of pages about pagan gods, goddesses, myths, and rituals.

Thanks for the reference. I am reading another book now that has a lot =
of VERY interesting, and new hypotheses about Christian origins, also =
very critical (one section highlights evidence of two Jesus figures who =
were about to be crucified by the Romans, but the Jews were allowed to =
send only one, leaving who was apparently the real Messiah, but not =
according to the Christian, mystery cult view of that concept.  The book =
is "The Hiram Key: Pharaohs, Freemasonry, and the Discovery of the =
Secret Scrolls of Jesus" by Christopher Knight. It is mainly a book =
about the origins of Freemasonry and a series of hypothesis that reveal =
the actual Hiram Abiff (not who we think but actually the last Egyptian =
king before the Kykos were booted out, and also marking the losing of =
the secret ritual of king making, which were lost with the slaying of =
the King Sekenenre, Tao II), making connections to the Knights Templar, =
and the so-called true pre-Constantine Christian Church (a very secluded =
Jewish sect), etc, etc.

Kris

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<DIV><FONT face=3DArial size=3D2>----- Original Message ----- <BR>&gt; =
Recommended=20
reading on this score: James Frazer, The Golden Bough. A&nbsp; <BR>&gt;=20
devastating critique of Christianity is hidden amongst those&nbsp; =
<BR>&gt;=20
thousands of pages about pagan gods, goddesses, myths, and=20
rituals.<BR><BR>Thanks for the reference. I am reading another book now =
that has=20
a lot of VERY interesting, and new hypotheses about Christian origins, =
also very=20
critical (one section&nbsp;highlights&nbsp;evidence of two Jesus figures =
who=20
were about to be crucified by the Romans, but the Jews were allowed to =
send only=20
one, leaving who was apparently the real Messiah, but not according to =
the=20
Christian, mystery cult&nbsp;view of that concept.&nbsp; The book is =
"The Hiram=20
Key: Pharaohs, Freemasonry, and the Discovery of the Secret Scrolls of =
Jesus" by=20
Christopher Knight. It is mainly&nbsp;a book about the origins of =
Freemasonry=20
and&nbsp;a series of hypothesis that reveal the actual&nbsp;Hiram Abiff =
(not who=20
we think but actually the last Egyptian king before the Kykos were =
booted out,=20
and also marking the losing of the secret ritual&nbsp;of king making, =
which were=20
lost with the slaying of the King Sekenenre, Tao II), making connections =
to the=20
Knights Templar, and the so-called true pre-Constantine Christian Church =
(a very=20
secluded Jewish sect), etc, etc.</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_01D4_01C9680E.3B87B4B0--

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 18:20:39 2008
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Subject: RE: guitar drone music
Date: Sat, 27 Dec 2008 10:20:34 -0800
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 " my suggestion

..don't listen to any guitarists..

:-)

andy butler"

 Funny, that has been my conscious decision for the last few years,
purposefully stop listening to other guitar players, with of course Andy
Butler, and Jeff Beck being the exceptions ;-)
 Seriously, at some point I think it's healthy to turn off the faucet of
influence, particularly from other guitarists.  Listen to Tuvin throat
music, Borneo water music, Bulgarian women's choir. Gyoto Monks chanting,
Kawali singing, Ella Fitzgerald scatting, any vocal music in general to
influence your playing if you must. Its not that I don't check out new
players at all, it's just that I don't consciously try to cop licks or glean
influence any more like I did in my twenties.  Its flattering to have
someone compliment your playing by telling you sound like this guy or that,
its another thing to have someone appreciate you for your individuality.
Years ago I was playing in a club in Osaka and was doing some wang bar
strangling and leaning in to the monitor to coax feedback, Two young guys
came up to me during the break, smiling and nodding, and saying something
over and over again that I couldn't make out due to the club noise and
language barrier,  and finally I realized they were saying  Adrian Belew!
Adrian Belew!, as a way of giving me a compliment. I really appreciated the
reference but it also made me want to work harder to develop my own musical
identity, and shed or at least obscure my influences.
Bill
















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" I got to see John somewhere in the 90's  ............. he's playing these=
 beautiful
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  I was convinced in the 70s that Fahey was trying to prove he could play s=
lower than any other guitar player=2CI think he succeeded=2Che could play m=
uch slower than anyone else I've ever heard. It's much more difficult to pl=
ay an acoustic guitar slowly than an electric guitar fast. Being musical in=
 either case is the big challege and Fahey's slow stuff could have this dee=
ply in the moment sort of  beauty=2Calmost Japanese.

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s that Fahey was trying to prove he could play slower than any other guitar=
 player=2CI think he succeeded=2Che could play much slower than anyone else=
 I've ever heard. It's much more difficult to play an acoustic guitar slowl=
y than an electric guitar fast. Being musical in either case is the big cha=
llege and Fahey's slow stuff could have this deeply in the moment sort of&n=
bsp=3B beauty=2Calmost Japanese.<br></body>
</html>=

--_efd10045-9d9a-41f9-a324-2cef468876ca_--

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This looks cool, I can hardly wait!

http://www.youtube.com/watch?v=3D_McoM_aflyg

j
  ----- Original Message -----=20
  From: samba -=20
  To: loopers-delight@loopers-delight.com=20
  Sent: Saturday, December 27, 2008 3:28 PM
  Subject: Fahey


  " I got to see John somewhere in the 90's  ............. he's playing =
these beautiful sssllllloooooowwww pieces......."

    I was convinced in the 70s that Fahey was trying to prove he could =
play slower than any other guitar player,I think he succeeded,he could =
play much slower than anyone else I've ever heard. It's much more =
difficult to play an acoustic guitar slowly than an electric guitar =
fast. Being musical in either case is the big challege and Fahey's slow =
stuff could have this deeply in the moment sort of  beauty,almost =
Japanese.



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



  No virus found in this incoming message.
  Checked by AVG - http://www.avg.com=20
  Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date: =
12/26/2008 1:01 PM

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<BODY class=3Dhmmessage bgColor=3D#ffffff>
<DIV><FONT face=3DArial>This looks cool, I can hardly wait!</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><A=20
href=3D"http://www.youtube.com/watch?v=3D_McoM_aflyg">http://www.youtube.=
com/watch?v=3D_McoM_aflyg</A></FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>j</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=3Dsambacomet@hotmail.com =
href=3D"mailto:sambacomet@hotmail.com">samba=20
  -</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, December 27, =
2008 3:28=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Fahey</DIV>
  <DIV><BR></DIV>" I got to see John somewhere in the 90's&nbsp; =
.............=20
  he's playing these beautiful sssllllloooooowwww =
pieces......."<BR><BR>&nbsp; I=20
  was convinced in the 70s that Fahey was trying to prove he could play =
slower=20
  than any other guitar player,I think he succeeded,he could play much =
slower=20
  than anyone else I've ever heard. It's much more difficult to play an =
acoustic=20
  guitar slowly than an electric guitar fast. Being musical in either =
case is=20
  the big challege and Fahey's slow stuff could have this deeply in the =
moment=20
  sort of&nbsp; beauty,almost Japanese.<BR>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
-=20
  http://www.avg.com <BR>Version: 8.0.176 / Virus Database: =
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  Release Date: 12/26/2008 1:01 PM<BR></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 20:51:27 2008
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Subject: Re: Fahey
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Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?
he can really play slow and beautiful and then blaze away as well
he played an 8 string guitar in 1975!!
=A0
HIs early ECM stuff is wonderful=A0=A0=A0=A0=A0 Dancas das Cabasas=A0(or so=
mething=A0like that!) LOL=A0 =A0is a good place to start.
=A0

--- On Sat, 12/27/08, Jeff D <jeff_d@embarqmail.com> wrote:

From: Jeff D <jeff_d@embarqmail.com>
Subject: Re: Fahey
To: Loopers-Delight@loopers-delight.com
Date: Saturday, December 27, 2008, 3:41 PM



#yiv1319865640 .hmmessage P {
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This looks cool, I can hardly wait!
=A0
http://www.youtube.com/watch?v=3D_McoM_aflyg
=A0
j

----- Original Message -----=20
From: samba -=20
To: loopers-delight@loopers-delight.com=20
Sent: Saturday, December 27, 2008 3:28 PM
Subject: Fahey

" I got to see John somewhere in the 90's=A0 ............. he's playing the=
se beautiful sssllllloooooowwww pieces......."

=A0 I was convinced in the 70s that Fahey was trying to prove he could play=
 slower than any other guitar player,I think he succeeded,he could play muc=
h slower than anyone else I've ever heard. It's much more difficult to play=
 an acoustic guitar slowly than an electric guitar fast. Being musical in e=
ither case is the big challege and Fahey's slow stuff could have this deepl=
y in the moment sort of=A0 beauty,almost Japanese.





No virus found in this incoming message.
Checked by AVG - http://www.avg.com=20
Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date: 12/26/2008=
 1:01 PM
=0A=0A=0A      
--0-981069723-1230411086=:66511
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV><BR>Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?</DIV>
<DIV>he can really play slow and beautiful and then blaze away as well</DIV>
<DIV>he played an 8 string guitar in 1975!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>HIs early ECM stuff is wonderful&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dancas das Cabasas&nbsp;(or something&nbsp;like that!) LOL&nbsp; &nbsp;is a good place to start.</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>--- On <B>Sat, 12/27/08, Jeff D <I>&lt;jeff_d@embarqmail.com&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Jeff D &lt;jeff_d@embarqmail.com&gt;<BR>Subject: Re: Fahey<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Saturday, December 27, 2008, 3:41 PM<BR><BR>
<DIV id=yiv1319865640>
<STYLE>#yiv1319865640 .hmmessage P {
PADDING-RIGHT:0px;PADDING-LEFT:0px;PADDING-BOTTOM:0px;MARGIN:0px;PADDING-TOP:0px;}
#yiv1319865640 {
FONT-SIZE:10pt;FONT-FAMILY:Verdana;}
</STYLE>

<DIV><FONT face=Arial>This looks cool, I can hardly wait!</FONT></DIV>
<DIV><FONT face=Arial></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial><A href="http://www.youtube.com/watch?v=_McoM_aflyg" target=_blank rel=nofollow>http://www.youtube.com/watch?v=_McoM_aflyg</A></FONT></DIV>
<DIV><FONT face=Arial></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial>j</FONT></DIV>
<BLOCKQUOTE 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"><B>From:</B> <A title=sambacomet@hotmail.com href="mailto:sambacomet@hotmail.com" target=_blank rel=nofollow>samba -</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A title=loopers-delight@loopers-delight.com href="mailto:loopers-delight@loopers-delight.com" target=_blank rel=nofollow>loopers-delight@loopers-delight.com</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Saturday, December 27, 2008 3:28 PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Fahey</DIV>
<DIV><BR></DIV>" I got to see John somewhere in the 90's&nbsp; ............. he's playing these beautiful sssllllloooooowwww pieces......."<BR><BR>&nbsp; I was convinced in the 70s that Fahey was trying to prove he could play slower than any other guitar player,I think he succeeded,he could play much slower than anyone else I've ever heard. It's much more difficult to play an acoustic guitar slowly than an electric guitar fast. Being musical in either case is the big challege and Fahey's slow stuff could have this deeply in the moment sort of&nbsp; beauty,almost Japanese.<BR>
<DIV>
<HR>

<DIV></DIV><BR>No virus found in this incoming message.<BR>Checked by AVG - http://www.avg.com <BR>Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date: 12/26/2008 1:01 PM<BR></BLOCKQUOTE></DIV></BLOCKQUOTE></td></tr></table><br>

      
--0-981069723-1230411086=:66511--

From abubarkabins@yahoo.com.my  Sat Dec 27 21:10:32 2008
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Date: Sat, 27 Dec 2008 18:51:05 +0300
From: Mr Abubarka Bin Saud <abubarkabins@yahoo.com.my>
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To: undisclosed-recipients:;
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Dear Sir/Madam,

I am Mr. Abu Bakar Bin Saud,
 From Malaysia.
Email; abubarbins@yahoo.com

Some years back, I invested some amount of money with an investor in Ontari=
o ,
Canada and it has yeilded some reasonable interest which is due for payment=
. I
wanted the Due-funds transferred to my account by Swift, but the issuing
company/Investor said that they cannot transfer more than Five=20=20
Thousand Dollars
(US$5,000) to any bank account outside North America/south America within o=
ne
month(30days).

Meanwhile, I have tried to open an account with Bank-One in Texas and
Washington Mutual in California, all in United States, but I need to be
physically presence to sign the mandate. I must confess that this is not
possible now because, I am medically down to make such a long distance trip.
So, i was told to provide a contact in Canada, or United States of America =
to
receive the funds on my behalf. I am in need of your assistance on=20=20
this matter,
if you could help receive the funds and forward it to me. Sincerely, you are
not going to face any risk in rendering this assistance to me.

PLEASE TAKE NOTE THAT YOU ARE NOT SPENDING ANY MONEY ON THIS, AND I WILL OF=
FER
YOU 12% OF THE MONEY YOU RECEIVED.

Once i receive your response, I will send to you, the contact details of the
investor in Canada, so that you can open talks with him.  Looking forward to
hearing from you.

Yours Truely,
Mr.Bakar Saud.


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From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 21:49:34 2008
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From: "Krispen Hartung" <info@krispenhartung.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Question for those in Seattle
Date: Sat, 27 Dec 2008 14:49:28 -0700
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For those who live in Seattle, can you recommend a local company that =
rents PA's and small platform stages (3)?  I also need a reference of a =
carpenter who can make me a custom podium like object (like an alter), =
plus a few other minor items (stands for candles, etc). It is for a =
sound installation I am planning.

Thanks,

Kris

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<DIV><FONT face=3DArial size=3D2>For those who live in Seattle, can you =
recommend a=20
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also need a=20
reference of a carpenter who can make me a custom podium like object =
(like an=20
alter), plus a few other minor items (stands for candles, etc). It is =
for a=20
sound installation I am planning.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Thanks,</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>

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Subject: Re: Fahey
Date: Sat, 27 Dec 2008 17:21:56 -0500
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Marc, I don't have that one but I have and love Solo. I think 1979. =
Absolutely stunning! Thanks for reminding me, listening now.=20

Jeff
  ----- Original Message -----=20
  From: Marc Marshall=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Saturday, December 27, 2008 3:51 PM
  Subject: Re: Fahey



        Speaking of slow acoustic guitar players, anybody hip to Egberto =
Gismonti?
        he can really play slow and beautiful and then blaze away as =
well
        he played an 8 string guitar in 1975!!

        HIs early ECM stuff is wonderful      Dancas das Cabasas (or =
something like that!) LOL   is a good place to start.


        --- On Sat, 12/27/08, Jeff D <jeff_d@embarqmail.com> wrote:

          From: Jeff D <jeff_d@embarqmail.com>
          Subject: Re: Fahey
          To: Loopers-Delight@loopers-delight.com
          Date: Saturday, December 27, 2008, 3:41 PM


          This looks cool, I can hardly wait!

          http://www.youtube.com/watch?v=3D_McoM_aflyg

          j
            ----- Original Message -----=20
            From: samba -=20
            To: loopers-delight@loopers-delight.com=20
            Sent: Saturday, December 27, 2008 3:28 PM
            Subject: Fahey


            " I got to see John somewhere in the 90's  ............. =
he's playing these beautiful sssllllloooooowwww pieces......."

              I was convinced in the 70s that Fahey was trying to prove =
he could play slower than any other guitar player,I think he =
succeeded,he could play much slower than anyone else I've ever heard. =
It's much more difficult to play an acoustic guitar slowly than an =
electric guitar fast. Being musical in either case is the big challege =
and Fahey's slow stuff could have this deeply in the moment sort of  =
beauty,almost Japanese.


--------------------------------------------------------------------


            No virus found in this incoming message.
            Checked by AVG - http://www.avg.com=20
            Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release =
Date: 12/26/2008 1:01 PM
      =20




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



  No virus found in this incoming message.
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<BODY bgColor=3D#ffffff>
<DIV>
<DIV><FONT face=3DArial size=3D2>Marc, I don't have that one but I have =
and love=20
Solo. I think 1979. Absolutely stunning! Thanks for reminding me, =
listening now.=20
</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</FONT></DIV></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=3Dagentlesoul2004@yahoo.com=20
  href=3D"mailto:agentlesoul2004@yahoo.com">Marc Marshall</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, December 27, =
2008 3:51=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Fahey</DIV>
  <DIV><BR></DIV>
  <TABLE cellSpacing=3D0 cellPadding=3D0 border=3D0>
    <TBODY>
    <TR>
      <TD vAlign=3Dtop>
        <DIV><BR>Speaking of slow acoustic guitar players, anybody hip =
to=20
        Egberto Gismonti?</DIV>
        <DIV>he can really play slow and beautiful and then blaze away =
as=20
        well</DIV>
        <DIV>he played an 8 string guitar in 1975!!</DIV>
        <DIV>&nbsp;</DIV>
        <DIV>HIs early ECM stuff is =
wonderful&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
        Dancas das Cabasas&nbsp;(or something&nbsp;like that!) LOL&nbsp; =

        &nbsp;is a good place to start.</DIV>
        <DIV>&nbsp;</DIV>
        <DIV><BR>--- On <B>Sat, 12/27/08, Jeff D <I>&lt;<A=20
        =
href=3D"mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</A>&gt;</I></=
B>=20
        wrote:<BR></DIV>
        <BLOCKQUOTE=20
        style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: =
rgb(16,16,255) 2px solid">From:=20
          Jeff D &lt;jeff_d@embarqmail.com&gt;<BR>Subject: Re: =
Fahey<BR>To:=20
          Loopers-Delight@loopers-delight.com<BR>Date: Saturday, =
December 27,=20
          2008, 3:41 PM<BR><BR>
          <DIV id=3Dyiv1319865640>
          <STYLE>#yiv1319865640 .hmmessage P {
	PADDING-RIGHT: 0px; PADDING-LEFT: 0px; PADDING-BOTTOM: 0px; MARGIN: =
0px; PADDING-TOP: 0px
}
#yiv1319865640 {
	FONT-SIZE: 10pt; FONT-FAMILY: Verdana
}
</STYLE>

          <DIV><FONT face=3DArial>This looks cool, I can hardly =
wait!</FONT></DIV>
          <DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
          <DIV><FONT face=3DArial><A=20
          href=3D"http://www.youtube.com/watch?v=3D_McoM_aflyg" =
target=3D_blank=20
          =
rel=3Dnofollow>http://www.youtube.com/watch?v=3D_McoM_aflyg</A></FONT></D=
IV>
          <DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
          <DIV><FONT face=3DArial>j</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 style=3D"BACKGROUND: #e4e4e4; FONT: 10pt =
arial"><B>From:</B> <A=20
            title=3Dsambacomet@hotmail.com =
href=3D"mailto:sambacomet@hotmail.com"=20
            target=3D_blank rel=3Dnofollow>samba -</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" =
target=3D_blank=20
            rel=3Dnofollow>loopers-delight@loopers-delight.com</A> =
</DIV>
            <DIV style=3D"FONT: 10pt arial"><B>Sent:</B> Saturday, =
December 27,=20
            2008 3:28 PM</DIV>
            <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Fahey</DIV>
            <DIV><BR></DIV>" I got to see John somewhere in the =
90's&nbsp;=20
            ............. he's playing these beautiful =
sssllllloooooowwww=20
            pieces......."<BR><BR>&nbsp; I was convinced in the 70s that =
Fahey=20
            was trying to prove he could play slower than any other =
guitar=20
            player,I think he succeeded,he could play much slower than =
anyone=20
            else I've ever heard. It's much more difficult to play an =
acoustic=20
            guitar slowly than an electric guitar fast. Being musical in =
either=20
            case is the big challege and Fahey's slow stuff could have =
this=20
            deeply in the moment sort of&nbsp; beauty,almost =
Japanese.<BR>
            <DIV>
            <HR>

            <DIV></DIV><BR>No virus found in this incoming =
message.<BR>Checked=20
            by AVG - http://www.avg.com <BR>Version: 8.0.176 / Virus =
Database:=20
            270.10.0/1865 - Release Date: 12/26/2008 1:01=20
          =
PM<BR></DIV></BLOCKQUOTE></DIV></BLOCKQUOTE></TD></TR></TBODY></TABLE><BR=
>
  <P>
  <HR>

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From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 22:22:53 2008
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Gismonti is so amazing, though I only heard him for the first time this 
summer. I like recommendations! I reach for his stuff over Fahey - other 
than his unique dark vibe and some interesting harmonic directions, he's 
largely lost on me (ducking) - but that's just taste. Like Charlie 
Parker, Mozart, and Townes Van Zandt, I acknowledge the influence, but 
rarely want to listen to the music.

still ducking...

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


>
> Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?
> he can really play slow and beautiful and then blaze away as well
> he played an 8 string guitar in 1975!!
>  
> HIs early ECM stuff is wonderful      Dancas das Cabasas (or 
> something like that!) LOL   is a good place to start.
>  
>

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 22:25:05 2008
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Date: Sat, 27 Dec 2008 23:25:03 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
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I recall Fahey's recordings were shared on Jamendo.com about half a
year ago. More than twenty albums it was. I listened to some by
streaming but did not download; awesome slow music! But now when I'm
searching Jamendo it's all gone, taken off line.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Sat Dec 27 23:19:46 2008
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Subject: Re: Fahey
Date: Sat, 27 Dec 2008 15:19:43 -0800
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Hi all,

Bruce Gilman here with a number Gismonti recommendations:

The Altitude of the Sun (Black Sun)
Meeting Point (ECM)
Magico  (ECM)
Kuarup  (Carmo)
Charlie Haden and Egberto gismonti in Montreal  (ECM)
Dan=E7a das Cabe=E7as (ECM)
M=FAsica de Sobreviv=EAncia (ECM)
Cora=E7=F5es Futuristas-*ECM)
Trem Caipira (EMI)
ZigZag (ECM)
Inf=E2ncia (ECM)
Feixe de Luz (EMI)
Sol do Meio Dia (ECM)
Sanfona (ECM)
Alma (EMI)
Dan=E7a doe Escravos (ECM)
Brasil Musical (TomBrasil)
Duas Vozes (ECM)


B.G.

On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:

> Gismonti is so amazing, though I only heard him for the first time =20
> this summer. I like recommendations! I reach for his stuff over =20
> Fahey - other than his unique dark vibe and some interesting =20
> harmonic directions, he's largely lost on me (ducking) - but that's =20=

> just taste. Like Charlie Parker, Mozart, and Townes Van Zandt, I =20
> acknowledge the influence, but rarely want to listen to the music.
>
> still ducking...
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>>
>> Speaking of slow acoustic guitar players, anybody hip to Egberto =20
>> Gismonti?
>> he can really play slow and beautiful and then blaze away as well
>> he played an 8 string guitar in 1975!!
>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or =20
>> something like that!) LOL   is a good place to start.
>>
>
>

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Date: Sat, 27 Dec 2008 18:59:17 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
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I never got to see him live but saw just about all of his followers, Kottke
in 1979 and later in 85, all the Windham Hill guys.  I played a show in 2006
in suburban Chicago and the Gallery where I was took on my CD's to carry in
their inventory.  Alongside was some work by Peter Lang (Fahey fellow Tahoma
mate) who I learned was still alive/well.  In addition to Fahey being gone
another much too soon loss from this period was Robbie Basho who did some
really eloquent 6 & 12 string work of Classical pieces among other things.
Once in a blue moon I get a comparison to John out of nowhere mainly some
more dronier things that I  did late 90's and into the millenium.  It is
usually the open tuning and repetitive nature of  my solo work prior to
become more improvisational in last couple of years.

Jim
www.jimgoodinmusic.com
www.chinapaintingmusic.com



On Sat, Dec 27, 2008 at 3:28 PM, samba - <sambacomet@hotmail.com> wrote:

> " I got to see John somewhere in the 90's  ............. he's playing these
> beautiful sssllllloooooowwww pieces......."
>
>   I was convinced in the 70s that Fahey was trying to prove he could play
> slower than any other guitar player,I think he succeeded,he could play much
> slower than anyone else I've ever heard. It's much more difficult to play an
> acoustic guitar slowly than an electric guitar fast. Being musical in either
> case is the big challege and Fahey's slow stuff could have this deeply in
> the moment sort of  beauty,almost Japanese.
>



-- 
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

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<div>I&nbsp;never got to see him live but saw just about all of his followers, Kottke in 1979 and later in 85, all the Windham Hill guys.&nbsp; I played a show in 2006 in suburban Chicago and the Gallery where I was took on my CD&#39;s to carry in their inventory.&nbsp; Alongside was some work by Peter Lang (Fahey fellow Tahoma mate) who I learned was still alive/well.&nbsp; In addition to Fahey being gone another much too soon loss from this period was Robbie Basho who did some really eloquent 6 &amp; 12 string work of Classical pieces among other things.&nbsp; Once in a blue moon I get a comparison to John out of nowhere mainly some more dronier things that I&nbsp; did late 90&#39;s and into the millenium.&nbsp; It is usually the open tuning and repetitive nature of&nbsp; my solo work prior to become more improvisational in last couple of years.</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 class="gmail_quote">On Sat, Dec 27, 2008 at 3:28 PM, samba - <span dir="ltr">&lt;<a href="mailto:sambacomet@hotmail.com">sambacomet@hotmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<div>&quot; I got to see John somewhere in the 90&#39;s&nbsp; ............. he&#39;s playing these beautiful sssllllloooooowwww pieces.......&quot;<br><br>&nbsp; I was convinced in the 70s that Fahey was trying to prove he could play slower than any other guitar player,I think he succeeded,he could play much slower than anyone else I&#39;ve ever heard. It&#39;s much more difficult to play an acoustic guitar slowly than an electric guitar fast. Being musical in either case is the big challege and Fahey&#39;s slow stuff could have this deeply in the moment sort of&nbsp; beauty,almost Japanese.<br>
</div></blockquote></div><br><br clear="all"><br>-- <br>The Acoustic World Guitar of Jim Goodin &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>

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 00:57:15 2008
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From: Marc Marshall <agentlesoul2004@yahoo.com>
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Subject: was Fahey now Sharrock  !!!
To: Loopers-Delight@loopers-delight.com, BOB BURNETT <bob@g-v-i.com>,
  KIM KIRKPATRICK <k.kirk@starpower.net>, tkipp@fhcrc.org
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alright just for shits (maybe it is=A0the excellent wine causing this) LOL=
=20
I know you=A0have been talking mainly Fahey and acoustic guitar in general,=
=A0BUT you did mention you liked his dark vibe, SO=A0may I humbly introduce=
 my=A0favorite=A0electric guitar player of taste, technique, dark=A0but lov=
ely vibe/ soul,=A0=A0God rest his soul.................
drum roll please zzzzzzzzzzzzzzzzzzzzzzzzzz
SONNY SHARROCK=20
man he could play his guitar so it phrased like a saxaphone, (in fact I onc=
e heard him say he didn't even like guitar, just sax and drums!) just melod=
y after melody, no pentonic scales=A0(spelled right?) and when he reached f=
or his slide, WOA NELLY=20
it conjured up the dead souls of Blind Willie=A0Johnson, Charly Patton, Rob=
ert Johnson,=20
filtered through a=A0burned =A0out Detroit warehouse and played on Thurston=
 Moore's turntable.
=A0
more wine, bartender!!!=A0 LOL
=A0
thanks for letting me rant
peace
marc
=A0=A0=A0=20

--- On Sat, 12/27/08, Daryl Shawn <highhorse@mhorse.com> wrote:

From: Daryl Shawn <highhorse@mhorse.com>
Subject: Re: Fahey
To: agentlesoul2004@yahoo.com, Loopers-Delight@loopers-delight.com
Date: Saturday, December 27, 2008, 5:22 PM

Gismonti is so amazing, though I only heard him for the first time this sum=
mer.
I like recommendations! I reach for his stuff over Fahey - other than his u=
nique
dark vibe and some interesting harmonic directions, he's largely lost on me
(ducking) - but that's just taste. Like Charlie Parker, Mozart, and Townes
Van Zandt, I acknowledge the influence, but rarely want to listen to the mu=
sic.

still ducking...

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


>=20
> Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti=
?
> he can really play slow and beautiful and then blaze away as well
> he played an 8 string guitar in 1975!!
>  HIs early ECM stuff is wonderful      Dancas das Cabasas (or something
like that!) LOL   is a good place to start.
> =20

=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV>alright just for shits (maybe it is&nbsp;the excellent wine causing this) LOL </DIV>
<DIV>I know you&nbsp;have been talking mainly Fahey and acoustic guitar in general,&nbsp;BUT you did mention you liked his dark vibe, SO&nbsp;may I humbly introduce my&nbsp;favorite&nbsp;electric guitar player of taste, technique, dark&nbsp;but lovely vibe/ soul,&nbsp;&nbsp;God rest his soul.................</DIV>
<DIV>drum roll please zzzzzzzzzzzzzzzzzzzzzzzzzz</DIV>
<DIV>SONNY SHARROCK </DIV>
<DIV>man he could play his guitar so it phrased like a saxaphone, (in fact I once heard him say he didn't even like guitar, just sax and drums!) just melody after melody, no pentonic scales&nbsp;(spelled right?) and when he reached for his slide, WOA NELLY </DIV>
<DIV>it conjured up the dead souls of Blind Willie&nbsp;Johnson, Charly Patton, Robert Johnson, </DIV>
<DIV>filtered through a&nbsp;burned &nbsp;out Detroit warehouse and played on Thurston Moore's turntable.</DIV>
<DIV>&nbsp;</DIV>
<DIV>more wine, bartender!!!&nbsp; LOL</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks for letting me rant</DIV>
<DIV>peace</DIV>
<DIV>marc</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Sat, 12/27/08, Daryl Shawn <I>&lt;highhorse@mhorse.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Daryl Shawn &lt;highhorse@mhorse.com&gt;<BR>Subject: Re: Fahey<BR>To: agentlesoul2004@yahoo.com, Loopers-Delight@loopers-delight.com<BR>Date: Saturday, December 27, 2008, 5:22 PM<BR><BR><PRE>Gismonti is so amazing, though I only heard him for the first time this summer.
I like recommendations! I reach for his stuff over Fahey - other than his unique
dark vibe and some interesting harmonic directions, he's largely lost on me
(ducking) - but that's just taste. Like Charlie Parker, Mozart, and Townes
Van Zandt, I acknowledge the influence, but rarely want to listen to the music.

still ducking...

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


&gt; 
&gt; Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?
&gt; he can really play slow and beautiful and then blaze away as well
&gt; he played an 8 string guitar in 1975!!
&gt;  HIs early ECM stuff is wonderful      Dancas das Cabasas (or something
like that!) LOL   is a good place to start.
&gt;  

</PRE></BLOCKQUOTE></td></tr></table><br>



      
--0-1628591915-1230425833=:46449--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 01:16:58 2008
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From: Matthias Grob <matilists@atarde.com.br>
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Subject: Re: guitar drone music
Date: Sat, 27 Dec 2008 22:16:18 -0300
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in 1985, when I discovered looping, I was so fanatic that for a whole  
year I only listened to my own music!
even when I visited someone, I brought my latest tape along and made  
them listen to it!
it was a brilliant phase for me
but the friends eventually started complaining and when I went to  
Brasil, I wanted to listed to the Brazilians ;-)


On 27 Dec 2008, at 15:20, William Walker wrote:

> " my suggestion
>
> ..don't listen to any guitarists..
>
> :-)
>
> andy butler"
>
> Funny, that has been my conscious decision for the last few years,
> purposefully stop listening to other guitar players, with of course  
> Andy
> Butler, and Jeff Beck being the exceptions ;-)
> Seriously, at some point I think it's healthy to turn off the faucet  
> of
> influence, particularly from other guitarists.  Listen to Tuvin throat
> music, Borneo water music, Bulgarian women's choir. Gyoto Monks  
> chanting,
> Kawali singing, Ella Fitzgerald scatting, any vocal music in general  
> to
> influence your playing if you must. ...
> Bill
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 01:23:29 2008
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From: Bruce Gilman <cuica@interworld.net>
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Subject: Re: guitar drone music
Date: Sat, 27 Dec 2008 17:23:26 -0800
References: <49563B87.5040108@tiscali.co.uk> <3705229CB7F44B80ABA95F34FA8021B6@williamsteed> <C19DA6DA-A426-46AB-A3E6-40A69CED1D5F@atarde.com.br>
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Hey all,

Bruce Gilman here with a few Brazilian guitar players you may want to =20=

check out:

Marco Pereira
Heraldo do Monte
Marcos Amorim
Baden Powell
Toninho Horta
Paulo Bellinati
Jo=E3o Bosco

B.G.


On Dec 27, 2008, at 5:16 PM, Matthias Grob wrote:

> in 1985, when I discovered looping, I was so fanatic that for a =20
> whole year I only listened to my own music!
> even when I visited someone, I brought my latest tape along and made =20=

> them listen to it!
> it was a brilliant phase for me
> but the friends eventually started complaining and when I went to =20
> Brasil, I wanted to listed to the Brazilians ;-)
>
>
> On 27 Dec 2008, at 15:20, William Walker wrote:
>
>> " my suggestion
>>
>> ..don't listen to any guitarists..
>>
>> :-)
>>
>> andy butler"
>>
>> Funny, that has been my conscious decision for the last few years,
>> purposefully stop listening to other guitar players, with of course =20=

>> Andy
>> Butler, and Jeff Beck being the exceptions ;-)
>> Seriously, at some point I think it's healthy to turn off the =20
>> faucet of
>> influence, particularly from other guitarists.  Listen to Tuvin =20
>> throat
>> music, Borneo water music, Bulgarian women's choir. Gyoto Monks =20
>> chanting,
>> Kawali singing, Ella Fitzgerald scatting, any vocal music in =20
>> general to
>> influence your playing if you must. ...
>> Bill
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 01:28:13 2008
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From: Marc Marshall <agentlesoul2004@yahoo.com>
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Subject: Re: Fahey
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woa Bruce!!=A0=A0 what a list!!
I confess I only have 3 or 4 of these, of course I can't=A0afford to buy ev=
erything by every artist I love,,=A0I have limited $$ and varied=A0tastes=
=A0=A0so I HAVE to own Lee Scratch Perry, The Orb, PJ Harvey, Mekons, PIL, =
Jon Hassell, Joy Division, Cat Power,Miles, Jimi, Janis, VU, 13th Floor, Th=
ievery Corp. Eno, Howlin Wolf, Joni, Steve=A0 Earle, Johnny Cash, Stones, B=
eatles, Art Bears, Adrian Sherwood,Flying Sauce Attack, My Bloody Valentine=
, Ride, Sly, Meters,Santana,and so on and so on.
=A0
marc
=A0=A0=A0=20

--- On Sat, 12/27/08, Bruce Gilman <cuica@interworld.net> wrote:

From: Bruce Gilman <cuica@interworld.net>
Subject: Re: Fahey
To: Loopers-Delight@loopers-delight.com
Date: Saturday, December 27, 2008, 6:19 PM

Hi all,

Bruce Gilman here with a number Gismonti recommendations:

The Altitude of the Sun (Black Sun)
Meeting Point (ECM)
Magico  (ECM)
Kuarup  (Carmo)
Charlie Haden and Egberto gismonti in Montreal  (ECM)
Dan=E7a das Cabe=E7as (ECM)
M=FAsica de Sobreviv=EAncia (ECM)
Cora=E7=F5es Futuristas-*ECM)
Trem Caipira (EMI)
ZigZag (ECM)
Inf=E2ncia (ECM)
Feixe de Luz (EMI)
Sol do Meio Dia (ECM)
Sanfona (ECM)
Alma (EMI)
Dan=E7a doe Escravos (ECM)
Brasil Musical (TomBrasil)
Duas Vozes (ECM)


B.G.

On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:

> Gismonti is so amazing, though I only heard him for the first time this
summer. I like recommendations! I reach for his stuff over Fahey - other th=
an
his unique dark vibe and some interesting harmonic directions, he's largely
lost on me (ducking) - but that's just taste. Like Charlie Parker, Mozart,
and Townes Van Zandt, I acknowledge the influence, but rarely want to liste=
n to
the music.
>=20
> still ducking...
>=20
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>=20
>=20
>>=20
>> Speaking of slow acoustic guitar players, anybody hip to Egberto
Gismonti?
>> he can really play slow and beautiful and then blaze away as well
>> he played an 8 string guitar in 1975!!
>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or something
like that!) LOL   is a good place to start.
>>=20
>=20
>=20

=0A=0A=0A      
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Content-Transfer-Encoding: quoted-printable

<table cellspacing=3D"0" cellpadding=3D"0" border=3D"0" ><tr><td valign=3D"=
top" style=3D"font: inherit;"><BR>
<DIV>woa Bruce!!&nbsp;&nbsp; what a list!!</DIV>
<DIV>I confess I only have 3 or 4 of these, of course I can't&nbsp;afford t=
o buy everything by every artist I love,,&nbsp;I have limited $$ and varied=
&nbsp;tastes&nbsp;&nbsp;so I HAVE to own Lee Scratch Perry, The Orb, PJ Har=
vey, Mekons, PIL, Jon Hassell, Joy Division, Cat Power,Miles, Jimi, Janis, =
VU, 13th Floor, Thievery Corp. Eno, Howlin Wolf, Joni, Steve&nbsp; Earle, J=
ohnny Cash, Stones, Beatles, Art Bears, Adrian Sherwood,Flying Sauce Attack=
, My Bloody Valentine, Ride, Sly, Meters,Santana,and so on and so on.</DIV>
<DIV>&nbsp;</DIV>
<DIV>marc</DIV>
<DIV><A href=3D"http://images.search.yahoo.com/search/images/view?back=3Dht=
tp%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%2=
6y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;=
w=3D150&amp;h=3D150&amp;imgurl=3Dwww.myownmusicindustry.nl%2Fimages%2Fmyblo=
odyvalentine-loveless.jpg&amp;rurl=3Dhttp%3A%2F%2Fwww.myownmusicindustry.nl=
%2Farchives%2Farchive_2005-m05.php&amp;size=3D5.2kB&amp;name=3Dmybloodyvale=
ntine-loveless.jpg&amp;p=3Dmbv+loveless&amp;type=3Djpeg&amp;no=3D11&amp;tt=
=3D64&amp;oid=3D2950ad644219f1da&amp;ei=3DUTF-8" target=3D_blank rel=3Dnofo=
llow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Sat, 12/27/08, Bruce Gi=
lman <I>&lt;cuica@interworld.net&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(=
16,16,255) 2px solid">From: Bruce Gilman &lt;cuica@interworld.net&gt;<BR>Su=
bject: Re: Fahey<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Saturd=
ay, December 27, 2008, 6:19 PM<BR><BR><PRE>Hi all,

Bruce Gilman here with a number Gismonti recommendations:

The Altitude of the Sun (Black Sun)
Meeting Point (ECM)
Magico  (ECM)
Kuarup  (Carmo)
Charlie Haden and Egberto gismonti in Montreal  (ECM)
Dan=E7a das Cabe=E7as (ECM)
M=FAsica de Sobreviv=EAncia (ECM)
Cora=E7=F5es Futuristas-*ECM)
Trem Caipira (EMI)
ZigZag (ECM)
Inf=E2ncia (ECM)
Feixe de Luz (EMI)
Sol do Meio Dia (ECM)
Sanfona (ECM)
Alma (EMI)
Dan=E7a doe Escravos (ECM)
Brasil Musical (TomBrasil)
Duas Vozes (ECM)


B.G.

On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:

&gt; Gismonti is so amazing, though I only heard him for the first time thi=
s
summer. I like recommendations! I reach for his stuff over Fahey - other th=
an
his unique dark vibe and some interesting harmonic directions, he's largely
lost on me (ducking) - but that's just taste. Like Charlie Parker, Mozart,
and Townes Van Zandt, I acknowledge the influence, but rarely want to liste=
n to
the music.
&gt;=20
&gt; still ducking...
&gt;=20
&gt; Daryl Shawn
&gt; www.swanwelder.com
&gt; www.chinapaintingmusic.com
&gt;=20
&gt;=20
&gt;&gt;=20
&gt;&gt; Speaking of slow acoustic guitar players, anybody hip to Egberto
Gismonti?
&gt;&gt; he can really play slow and beautiful and then blaze away as well
&gt;&gt; he played an 8 string guitar in 1975!!
&gt;&gt; HIs early ECM stuff is wonderful      Dancas das Cabasas (or somet=
hing
like that!) LOL   is a good place to start.
&gt;&gt;=20
&gt;=20
&gt;=20

</PRE></BLOCKQUOTE></td></tr></table><br>=0A=0A=0A=0A      
--0-1971452323-1230427692=:58499--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 01:53:26 2008
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Subject: OT Egberto Gismonti
Date: Sat, 27 Dec 2008 22:53:11 -0300
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yes, I visited him once in Rio
and saw several shows
he also plays piano marvelously
and he has an interesting experience with indios
but he is a bit isolated...
and the thing with the very low pitched guitar strings does not sound  
good to my ears
in general I feel he creates fantastic music but does not care much  
about sound

listen also to his friend Carioca http://www.myspace.com/ 
ronaldofreitas  !


On 27 Dec 2008, at 17:51, Marc Marshall wrote:

>
> Speaking of slow acoustic guitar players, anybody hip to Egberto  
> Gismonti?
> he can really play slow and beautiful and then blaze away as well
> he played an 8 string guitar in 1975!!
>
> HIs early ECM stuff is wonderful      Dancas das Cabasas (or  
> something like that!) LOL   is a good place to start.
>
>
> --- On Sat, 12/27/08, Jeff D <jeff_d@embarqmail.com> wrote:
> From: Jeff D <jeff_d@embarqmail.com>
> Subject: Re: Fahey
> To: Loopers-Delight@loopers-delight.com
> Date: Saturday, December 27, 2008, 3:41 PM
>
> This looks cool, I can hardly wait!
>
> http://www.youtube.com/watch?v=_McoM_aflyg
>
> j
> ----- Original Message -----
> From: samba -
> To: loopers-delight@loopers-delight.com
> Sent: Saturday, December 27, 2008 3:28 PM
> Subject: Fahey
>
> " I got to see John somewhere in the 90's  ............. he's  
> playing these beautiful sssllllloooooowwww pieces......."
>
>   I was convinced in the 70s that Fahey was trying to prove he could  
> play slower than any other guitar player,I think he succeeded,he  
> could play much slower than anyone else I've ever heard. It's much  
> more difficult to play an acoustic guitar slowly than an electric  
> guitar fast. Being musical in either case is the big challege and  
> Fahey's slow stuff could have this deeply in the moment sort of   
> beauty,almost Japanese.
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date:  
> 12/26/2008 1:01 PM
>
>


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">yes, I visited him once in =
Rio<div>and saw several shows<br><div>he also plays piano =
marvelously</div><div>and he has an interesting experience with =
indios</div><div>but he is a bit isolated...</div><div>and the thing =
with the very low pitched guitar strings does not sound good to my =
ears</div><div>in general I feel he creates fantastic music but does not =
care much about sound</div><div><br></div><div>listen also to his friend =
Carioca&nbsp;<a =
href=3D"http://www.myspace.com/ronaldofreitas">http://www.myspace.com/rona=
ldofreitas</a> =
&nbsp;!</div><div><br></div><div><br></div><div><div><div>On 27 Dec =
2008, at 17:51, Marc Marshall 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: Geneva; font-size: 16px; 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><table cellspacing=3D"0" =
cellpadding=3D"0" border=3D"0"><tbody><tr><td valign=3D"top" =
style=3D"font: inherit; "><div><br>Speaking of slow acoustic guitar =
players, anybody hip to Egberto Gismonti?</div><div>he can really play =
slow and beautiful and then blaze away as well</div><div>he played an 8 =
string guitar in 1975!!</div><div>&nbsp;</div><div>HIs early ECM stuff =
is wonderful&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dancas das Cabasas&nbsp;(or =
something&nbsp;like that!) LOL&nbsp; &nbsp;is a good place to =
start.</div><div>&nbsp;</div><div><br>--- On<span =
class=3D"Apple-converted-space">&nbsp;</span><b>Sat, 12/27/08, Jeff =
D<span class=3D"Apple-converted-space">&nbsp;</span><i>&lt;<a =
href=3D"mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</a>></i></b><s=
pan =
class=3D"Apple-converted-space">&nbsp;</span>wrote:<br></div><blockquote =
style=3D"padding-left: 5px; margin-left: 5px; border-left-color: rgb(16, =
16, 255); border-left-width: 2px; border-left-style: solid; ">From: Jeff =
D &lt;<a =
href=3D"mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</a>><br>Subjec=
t: Re: Fahey<br>To:<span class=3D"Apple-converted-space">&nbsp;</span><a =
href=3D"mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@looper=
s-delight.com</a><br>Date: Saturday, December 27, 2008, 3:41 =
PM<br><br><div id=3D"yiv1319865640" style=3D"font-size: 10pt; =
font-family: Verdana; "><div><font face=3D"Arial">This looks cool, I can =
hardly wait!</font></div><div><font =
face=3D"Arial"></font>&nbsp;</div><div><font face=3D"Arial"><a =
href=3D"http://www.youtube.com/watch?v=3D_McoM_aflyg" target=3D"_blank" =
rel=3D"nofollow">http://www.youtube.com/watch?v=3D_McoM_aflyg</a></font></=
div><div><font face=3D"Arial"></font>&nbsp;</div><div><font =
face=3D"Arial">j</font></div><blockquote style=3D"padding-right: 0px; =
padding-left: 5px; margin-left: 5px; border-left-color: rgb(0, 0, 0); =
border-left-width: 2px; border-left-style: solid; margin-right: 0px; =
"><div style=3D"font: normal normal normal 10pt/normal arial; ">----- =
Original Message -----</div><div style=3D"background-image: initial; =
background-repeat: initial; background-attachment: initial; =
-webkit-background-clip: initial; -webkit-background-origin: initial; =
background-color: rgb(228, 228, 228); font: normal normal normal =
10pt/normal arial; background-position: initial initial; =
"><b>From:</b><span class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"sambacomet@hotmail.com" href=3D"mailto:sambacomet@hotmail.com" =
target=3D"_blank" rel=3D"nofollow">samba -</a></div><div style=3D"font: =
normal normal normal 10pt/normal arial; "><b>To:</b><span =
class=3D"Apple-converted-space">&nbsp;</span><a =
title=3D"loopers-delight@loopers-delight.com" =
href=3D"mailto:loopers-delight@loopers-delight.com" target=3D"_blank" =
rel=3D"nofollow">loopers-delight@loopers-delight.com</a></div><div =
style=3D"font: normal normal normal 10pt/normal arial; =
"><b>Sent:</b><span class=3D"Apple-converted-space">&nbsp;</span>Saturday,=
 December 27, 2008 3:28 PM</div><div style=3D"font: normal normal normal =
10pt/normal arial; "><b>Subject:</b><span =
class=3D"Apple-converted-space">&nbsp;</span>Fahey</div><div><br></div>" =
I got to see John somewhere in the 90's&nbsp; ............. he's playing =
these beautiful sssllllloooooowwww pieces......."<br><br>&nbsp; I was =
convinced in the 70s that Fahey was trying to prove he could play slower =
than any other guitar player,I think he succeeded,he could play much =
slower than anyone else I've ever heard. It's much more difficult to =
play an acoustic guitar slowly than an electric guitar fast. Being =
musical in either case is the big challege and Fahey's slow stuff could =
have this deeply in the moment sort of&nbsp; beauty,almost =
Japanese.<br><div><hr><div></div><br>No virus found in this incoming =
message.<br>Checked by AVG -<span =
class=3D"Apple-converted-space">&nbsp;</span><a =
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class=3D"Apple-converted-space">&nbsp;</span><br>Version: 8.0.176 / =
Virus Database: 270.10.0/1865 - Release Date: 12/26/2008 1:01 =
PM<br></div></blockquote></div></blockquote></td></tr></tbody></table><br>=
</div></span><br =
class=3D"Apple-interchange-newline"></blockquote></div><br></div></div></b=
ody></html>=

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Date: Sat, 27 Dec 2008 18:04:33 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Reply-To: agentlesoul2004@yahoo.com
Subject: Re: OT Egberto Gismonti
To: Loopers-Delight@loopers-delight.com
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wow, never heard of criticism=A0of low pitched strings sounded bad.
hey man to each his own!!
I would argue that just because YOU may not like his sound does not mean=20
that HE doesn't care about sound.=A0=A0=A0 You are of course free to not li=
ke it.
I dare to say you would never stand to listen to Sonic Youth or Glen Branca=
 or the whole guitar tuned to just one note thing.=A0=A0=20
=A0
thanks for being candid and allowing me the same, sir!!=A0=A0 :-)
=A0=A0=A0=20

--- On Sat, 12/27/08, Matthias Grob <matilists@atarde.com.br> wrote:

BORDER-LEFT: rgb(16,16,255) 2px solid">From: Matthias Grob <matilists@atard=
e.com.br>
Subject: OT Egberto Gismonti
To: "Loop List" <Loopers-Delight@loopers-delight.com>
Date: Saturday, December 27, 2008, 8:53 PM


yes, I visited him once in Rio=20
and saw several shows

he also plays piano marvelously
and he has an interesting experience with indios
but he is a bit isolated...
and the thing with the very low pitched guitar strings does not sound good =
to my ears
in general I feel he creates fantastic music but does not care much about s=
ound


listen also to his friend Carioca=A0http://www.myspace.com/ronaldofreitas =
=A0!






On 27 Dec 2008, at 17:51, Marc Marshall wrote:








Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?
he can really play slow and beautiful and then blaze away as well
he played an 8 string guitar in 1975!!
=A0
HIs early ECM stuff is wonderful=A0=A0=A0=A0=A0 Dancas das Cabasas=A0(or so=
mething=A0like that!) LOL=A0 =A0is a good place to start.
=A0

--- On=A0Sat, 12/27/08, Jeff D=A0<jeff_d@embarqmail.com>=A0wrote:

From: Jeff D <jeff_d@embarqmail.com>
Subject: Re: Fahey
To:=A0Loopers-Delight@loopers-delight.com
Date: Saturday, December 27, 2008, 3:41 PM



This looks cool, I can hardly wait!
=A0
http://www.youtube.com/watch?v=3D_McoM_aflyg
=A0
j

----- Original Message -----
From:=A0samba -
To:=A0loopers-delight@loopers-delight.com
Sent:=A0Saturday, December 27, 2008 3:28 PM
Subject:=A0Fahey

" I got to see John somewhere in the 90's=A0 ............. he's playing the=
se beautiful sssllllloooooowwww pieces......."

=A0 I was convinced in the 70s that Fahey was trying to prove he could play=
 slower than any other guitar player,I think he succeeded,he could play muc=
h slower than anyone else I've ever heard. It's much more difficult to play=
 an acoustic guitar slowly than an electric guitar fast. Being musical in e=
ither case is the big challege and Fahey's slow stuff could have this deepl=
y in the moment sort of=A0 beauty,almost Japanese.





No virus found in this incoming message.
Checked by AVG -=A0http://www.avg.com=A0
Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date: 12/26/2008=
 1:01 PM



=0A=0A=0A      
--0-788791017-1230429873=:81263
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR>
<DIV>wow, never heard of criticism&nbsp;of low pitched strings sounded bad.</DIV>
<DIV>hey man to each his own!!</DIV>
<DIV>I would argue that just because YOU may not like his sound does not mean </DIV>
<DIV>that HE doesn't care about sound.&nbsp;&nbsp;&nbsp; You are of course free to not like it.</DIV>
<DIV>I dare to say you would never stand to listen to Sonic Youth or Glen Branca or the whole guitar tuned to just one note thing.&nbsp;&nbsp; </DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks for being candid and allowing me the same, sir!!&nbsp;&nbsp; :-)</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Sat, 12/27/08, Matthias Grob <I>&lt;matilists@atarde.com.br&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; span: " misspelled?>BORD</SPAN>ER-LEFT: rgb(16,16,255) 2px solid"&gt;From: Matthias Grob &lt;matilists@atarde.com.br&gt;<BR>Subject: OT Egberto Gismonti<BR>To: "Loop List" &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Saturday, December 27, 2008, 8:53 PM<BR><BR>
<DIV id=yiv2055136536>yes, I visited him once in Rio 
<DIV>and saw several shows<BR>
<DIV>he also plays piano marvelously</DIV>
<DIV>and he has an interesting experience with indios</DIV>
<DIV>but he is a bit isolated...</DIV>
<DIV>and the thing with the very low pitched guitar strings does not sound good to my ears</DIV>
<DIV>in general I feel he creates fantastic music but does not care much about sound</DIV>
<DIV><BR></DIV>
<DIV>listen also to his friend Carioca&nbsp;<A href="http://www.myspace.com/ronaldofreitas" target=_blank rel=nofollow>http://www.myspace.com/ronaldofreitas</A> &nbsp;!</DIV>
<DIV><BR></DIV>
<DIV><BR></DIV>
<DIV>
<DIV>
<DIV>On 27 Dec 2008, at 17:51, Marc Marshall wrote:</DIV><BR class=Apple-interchange-newline>
<BLOCKQUOTE type="cite"><SPAN class=Apple-style-span style="WORD-SPACING: 0px; FONT: 16px Geneva; TEXT-TRANSFORM: none; COLOR: rgb(0,0,0); TEXT-INDENT: 0px; WHITE-SPACE: normal; LETTER-SPACING: normal; BORDER-COLLAPSE: separate; orphans: 2; widows: 2">
<DIV>
<TABLE cellSpacing=0 cellPadding=0 border=0>
<TBODY>
<TR>
<TD vAlign=top>
<DIV><BR>Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?</DIV>
<DIV>he can really play slow and beautiful and then blaze away as well</DIV>
<DIV>he played an 8 string guitar in 1975!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>HIs early ECM stuff is wonderful&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Dancas das Cabasas&nbsp;(or something&nbsp;like that!) LOL&nbsp; &nbsp;is a good place to start.</DIV>
<DIV>&nbsp;</DIV>
<DIV><BR>--- On<SPAN class=Apple-converted-space>&nbsp;</SPAN><B>Sat, 12/27/08, Jeff D<SPAN class=Apple-converted-space>&nbsp;</SPAN><I>&lt;<A href="mailto:jeff_d@embarqmail.com" target=_blank rel=nofollow>jeff_d@embarqmail.com</A>&gt;</I></B><SPAN class=Apple-converted-space>&nbsp;</SPAN>wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Jeff D &lt;<A href="mailto:jeff_d@embarqmail.com" target=_blank rel=nofollow>jeff_d@embarqmail.com</A>&gt;<BR>Subject: Re: Fahey<BR>To:<SPAN class=Apple-converted-space>&nbsp;</SPAN><A href="mailto:Loopers-Delight@loopers-delight.com" target=_blank rel=nofollow>Loopers-Delight@loopers-delight.com</A><BR>Date: Saturday, December 27, 2008, 3:41 PM<BR><BR>
<DIV id=yiv1319865640 style="FONT-SIZE: 10pt; FONT-FAMILY: Verdana">
<DIV><FONT face=Arial>This looks cool, I can hardly wait!</FONT></DIV>
<DIV><FONT face=Arial></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial><A href="http://www.youtube.com/watch?v=_McoM_aflyg" target=_blank rel=nofollow>http://www.youtube.com/watch?v=_McoM_aflyg</A></FONT></DIV>
<DIV><FONT face=Arial></FONT>&nbsp;</DIV>
<DIV><FONT face=Arial>j</FONT></DIV>
<BLOCKQUOTE style="PADDING-RIGHT: 0px; PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(0,0,0) 2px solid; MARGIN-RIGHT: 0px">
<DIV style="FONT: 10pt arial">----- Original Message -----</DIV>
<DIV style="FONT: 10pt arial; BACKGROUND-COLOR: rgb(228,228,228)"><B>From:</B><SPAN class=Apple-converted-space>&nbsp;</SPAN><A title=sambacomet@hotmail.com href="mailto:sambacomet@hotmail.com" target=_blank rel=nofollow>samba -</A></DIV>
<DIV style="FONT: 10pt arial"><B>To:</B><SPAN class=Apple-converted-space>&nbsp;</SPAN><A title=loopers-delight@loopers-delight.com href="mailto:loopers-delight@loopers-delight.com" target=_blank rel=nofollow>loopers-delight@loopers-delight.com</A></DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B><SPAN class=Apple-converted-space>&nbsp;</SPAN>Saturday, December 27, 2008 3:28 PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B><SPAN class=Apple-converted-space>&nbsp;</SPAN>Fahey</DIV>
<DIV><BR></DIV>" I got to see John somewhere in the 90's&nbsp; ............. he's playing these beautiful sssllllloooooowwww pieces......."<BR><BR>&nbsp; I was convinced in the 70s that Fahey was trying to prove he could play slower than any other guitar player,I think he succeeded,he could play much slower than anyone else I've ever heard. It's much more difficult to play an acoustic guitar slowly than an electric guitar fast. Being musical in either case is the big challege and Fahey's slow stuff could have this deeply in the moment sort of&nbsp; beauty,almost Japanese.<BR>
<DIV>
<HR>

<DIV></DIV><BR>No virus found in this incoming message.<BR>Checked by AVG -<SPAN class=Apple-converted-space>&nbsp;</SPAN><A href="http://www.avg.com/" target=_blank rel=nofollow>http://www.avg.com</A><SPAN class=Apple-converted-space>&nbsp;</SPAN><BR>Version: 8.0.176 / Virus Database: 270.10.0/1865 - Release Date: 12/26/2008 1:01 PM<BR></DIV></BLOCKQUOTE></DIV></BLOCKQUOTE></TD></TR></TBODY></TABLE><BR></DIV></SPAN><BR class=Apple-interchange-newline></BLOCKQUOTE></DIV><BR></DIV></DIV></DIV></BLOCKQUOTE></td></tr></table><br>



      
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From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 02:18:00 2008
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Date: Sun, 28 Dec 2008 03:20:07 +0100
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To: Loopers-Delight@loopers-delight.com
Subject: gismonti
References: <964044.66511.qm@web51507.mail.re2.yahoo.com> <4956AABB.4000106@mhorse.com> <636DC501-4232-421F-A02C-21CA25780FE9@interworld.net>
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only few other musicians have made me as happy as egberto gismonti.
he has written some joyful and simple yet harmonically enthralling 
pieces that
made my heart dance on a regular basis.
my favourite tune of his is
Loro (The Parrot)

 fantastic piano solo piece

tilmann


Bruce Gilman schrieb:
> Hi all,
>
> Bruce Gilman here with a number Gismonti recommendations:
>
> The Altitude of the Sun (Black Sun)
> Meeting Point (ECM)
> Magico  (ECM)
> Kuarup  (Carmo)
> Charlie Haden and Egberto gismonti in Montreal  (ECM)
> Dança das Cabeças (ECM)
> Música de Sobrevivência (ECM)
> Corações Futuristas-*ECM)
> Trem Caipira (EMI)
> ZigZag (ECM)
> Infância (ECM)
> Feixe de Luz (EMI)
> Sol do Meio Dia (ECM)
> Sanfona (ECM)
> Alma (EMI)
> Dança doe Escravos (ECM)
> Brasil Musical (TomBrasil)
> Duas Vozes (ECM)
>
>
> B.G.
>
> On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
>
>> Gismonti is so amazing, though I only heard him for the first time 
>> this summer. I like recommendations! I reach for his stuff over Fahey 
>> - other than his unique dark vibe and some interesting harmonic 
>> directions, he's largely lost on me (ducking) - but that's just 
>> taste. Like Charlie Parker, Mozart, and Townes Van Zandt, I 
>> acknowledge the influence, but rarely want to listen to the music.
>>
>> still ducking...
>>
>> Daryl Shawn
>> www.swanwelder.com
>> www.chinapaintingmusic.com
>>
>>
>>>
>>> Speaking of slow acoustic guitar players, anybody hip to Egberto 
>>> Gismonti?
>>> he can really play slow and beautiful and then blaze away as well
>>> he played an 8 string guitar in 1975!!
>>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or 
>>> something like that!) LOL   is a good place to start.
>>>
>>
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 02:30:46 2008
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Have you heard Keith Jarrett on "The Survivors Suite?"
his piano is really=A0beautiful and reflective.
having Charlie Haden on upright bass doesn't hurt either!!
=A0
of course=A0one must be VERY careful as to what Jarrett to buy over the yea=
rs
LOL

=A0
=A0=A0=A0=20

--- On Sat, 12/27/08, Tilmann Dehnhard <tilmann@dehnhard.com> wrote:

From: Tilmann Dehnhard <tilmann@dehnhard.com>
Subject: gismonti
To: Loopers-Delight@loopers-delight.com
Date: Saturday, December 27, 2008, 9:20 PM

only few other musicians have made me as happy as egberto gismonti.
he has written some joyful and simple yet harmonically enthralling pieces t=
hat
made my heart dance on a regular basis.
my favourite tune of his is
Loro (The Parrot)

fantastic piano solo piece

tilmann


Bruce Gilman schrieb:
> Hi all,
>=20
> Bruce Gilman here with a number Gismonti recommendations:
>=20
> The Altitude of the Sun (Black Sun)
> Meeting Point (ECM)
> Magico  (ECM)
> Kuarup  (Carmo)
> Charlie Haden and Egberto gismonti in Montreal  (ECM)
> Dan=E7a das Cabe=E7as (ECM)
> M=FAsica de Sobreviv=EAncia (ECM)
> Cora=E7=F5es Futuristas-*ECM)
> Trem Caipira (EMI)
> ZigZag (ECM)
> Inf=E2ncia (ECM)
> Feixe de Luz (EMI)
> Sol do Meio Dia (ECM)
> Sanfona (ECM)
> Alma (EMI)
> Dan=E7a doe Escravos (ECM)
> Brasil Musical (TomBrasil)
> Duas Vozes (ECM)
>=20
>=20
> B.G.
>=20
> On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
>=20
>> Gismonti is so amazing, though I only heard him for the first time
this summer. I like recommendations! I reach for his stuff over Fahey - oth=
er
than his unique dark vibe and some interesting harmonic directions, he's
largely lost on me (ducking) - but that's just taste. Like Charlie Parker,
Mozart, and Townes Van Zandt, I acknowledge the influence, but rarely want =
to
listen to the music.
>>=20
>> still ducking...
>>=20
>> Daryl Shawn
>> www.swanwelder.com
>> www.chinapaintingmusic.com
>>=20
>>=20
>>>=20
>>> Speaking of slow acoustic guitar players, anybody hip to Egberto
Gismonti?
>>> he can really play slow and beautiful and then blaze away as well
>>> he played an 8 string guitar in 1975!!
>>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or
something like that!) LOL   is a good place to start.
>>>=20
>>=20
>>=20
>=20
>=20

=0A=0A=0A      
--0-1087429556-1230431445=:57798
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<table cellspacing=3D"0" cellpadding=3D"0" border=3D"0" ><tr><td valign=3D"=
top" style=3D"font: inherit;"><BR>
<DIV>Have you heard Keith Jarrett on "The Survivors Suite?"</DIV>
<DIV>his piano is really&nbsp;beautiful and reflective.</DIV>
<DIV>having Charlie Haden on upright bass doesn't hurt either!!</DIV>
<DIV>&nbsp;</DIV>
<DIV>of course&nbsp;one must be VERY careful as to what Jarrett to buy over=
 the years</DIV>
<DIV>LOL<BR></DIV>
<DIV>&nbsp;</DIV>
<DIV><A href=3D"http://images.search.yahoo.com/search/images/view?back=3Dht=
tp%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%2=
6y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;=
w=3D150&amp;h=3D150&amp;imgurl=3Dwww.myownmusicindustry.nl%2Fimages%2Fmyblo=
odyvalentine-loveless.jpg&amp;rurl=3Dhttp%3A%2F%2Fwww.myownmusicindustry.nl=
%2Farchives%2Farchive_2005-m05.php&amp;size=3D5.2kB&amp;name=3Dmybloodyvale=
ntine-loveless.jpg&amp;p=3Dmbv+loveless&amp;type=3Djpeg&amp;no=3D11&amp;tt=
=3D64&amp;oid=3D2950ad644219f1da&amp;ei=3DUTF-8" target=3D_blank rel=3Dnofo=
llow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Sat, 12/27/08, Tilmann =
Dehnhard <I>&lt;tilmann@dehnhard.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style=3D"PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(=
16,16,255) 2px solid">From: Tilmann Dehnhard &lt;tilmann@dehnhard.com&gt;<B=
R>Subject: gismonti<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Sat=
urday, December 27, 2008, 9:20 PM<BR><BR><PRE>only few other musicians have=
 made me as happy as egberto gismonti.
he has written some joyful and simple yet harmonically enthralling pieces t=
hat
made my heart dance on a regular basis.
my favourite tune of his is
Loro (The Parrot)

fantastic piano solo piece

tilmann


Bruce Gilman schrieb:
&gt; Hi all,
&gt;=20
&gt; Bruce Gilman here with a number Gismonti recommendations:
&gt;=20
&gt; The Altitude of the Sun (Black Sun)
&gt; Meeting Point (ECM)
&gt; Magico  (ECM)
&gt; Kuarup  (Carmo)
&gt; Charlie Haden and Egberto gismonti in Montreal  (ECM)
&gt; Dan=E7a das Cabe=E7as (ECM)
&gt; M=FAsica de Sobreviv=EAncia (ECM)
&gt; Cora=E7=F5es Futuristas-*ECM)
&gt; Trem Caipira (EMI)
&gt; ZigZag (ECM)
&gt; Inf=E2ncia (ECM)
&gt; Feixe de Luz (EMI)
&gt; Sol do Meio Dia (ECM)
&gt; Sanfona (ECM)
&gt; Alma (EMI)
&gt; Dan=E7a doe Escravos (ECM)
&gt; Brasil Musical (TomBrasil)
&gt; Duas Vozes (ECM)
&gt;=20
&gt;=20
&gt; B.G.
&gt;=20
&gt; On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
&gt;=20
&gt;&gt; Gismonti is so amazing, though I only heard him for the first time
this summer. I like recommendations! I reach for his stuff over Fahey - oth=
er
than his unique dark vibe and some interesting harmonic directions, he's
largely lost on me (ducking) - but that's just taste. Like Charlie Parker,
Mozart, and Townes Van Zandt, I acknowledge the influence, but rarely want =
to
listen to the music.
&gt;&gt;=20
&gt;&gt; still ducking...
&gt;&gt;=20
&gt;&gt; Daryl Shawn
&gt;&gt; www.swanwelder.com
&gt;&gt; www.chinapaintingmusic.com
&gt;&gt;=20
&gt;&gt;=20
&gt;&gt;&gt;=20
&gt;&gt;&gt; Speaking of slow acoustic guitar players, anybody hip to Egber=
to
Gismonti?
&gt;&gt;&gt; he can really play slow and beautiful and then blaze away as w=
ell
&gt;&gt;&gt; he played an 8 string guitar in 1975!!
&gt;&gt;&gt; HIs early ECM stuff is wonderful      Dancas das Cabasas (or
something like that!) LOL   is a good place to start.
&gt;&gt;&gt;=20
&gt;&gt;=20
&gt;&gt;=20
&gt;=20
&gt;=20

</PRE></BLOCKQUOTE></td></tr></table><br>=0A=0A      
--0-1087429556-1230431445=:57798--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 03:02:33 2008
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Subject: Re: gismonti
Date: Sat, 27 Dec 2008 19:02:30 -0800
References: <964044.66511.qm@web51507.mail.re2.yahoo.com> <4956AABB.4000106@mhorse.com> <636DC501-4232-421F-A02C-21CA25780FE9@interworld.net> <4956E257.5090005@dehnhard.com>
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Hi Tilmann,

Bruce here.

You've hit the bull's-eye.

"Loro" is a fantastic work.  It's a Brazilian groove called bai=E3o.

I've heard Egberto plays the out-chrous one of two ways: either =20
accelerating to light speed or slowing to complete motionlessness.

Either way, it's striking!

Gismonti definitely cares about sound!  He's a master.

Best,
B.G.


On Dec 27, 2008, at 6:20 PM, Tilmann Dehnhard wrote:

> only few other musicians have made me as happy as egberto gismonti.
> he has written some joyful and simple yet harmonically enthralling =20
> pieces that
> made my heart dance on a regular basis.
> my favourite tune of his is
> Loro (The Parrot)
>
> fantastic piano solo piece
>
> tilmann
>
>
> Bruce Gilman schrieb:
>> Hi all,
>>
>> Bruce Gilman here with a number Gismonti recommendations:
>>
>> The Altitude of the Sun (Black Sun)
>> Meeting Point (ECM)
>> Magico  (ECM)
>> Kuarup  (Carmo)
>> Charlie Haden and Egberto gismonti in Montreal  (ECM)
>> Dan=E7a das Cabe=E7as (ECM)
>> M=FAsica de Sobreviv=EAncia (ECM)
>> Cora=E7=F5es Futuristas-*ECM)
>> Trem Caipira (EMI)
>> ZigZag (ECM)
>> Inf=E2ncia (ECM)
>> Feixe de Luz (EMI)
>> Sol do Meio Dia (ECM)
>> Sanfona (ECM)
>> Alma (EMI)
>> Dan=E7a doe Escravos (ECM)
>> Brasil Musical (TomBrasil)
>> Duas Vozes (ECM)
>>
>>
>> B.G.
>>
>> On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
>>
>>> Gismonti is so amazing, though I only heard him for the first time =20=

>>> this summer. I like recommendations! I reach for his stuff over =20
>>> Fahey - other than his unique dark vibe and some interesting =20
>>> harmonic directions, he's largely lost on me (ducking) - but =20
>>> that's just taste. Like Charlie Parker, Mozart, and Townes Van =20
>>> Zandt, I acknowledge the influence, but rarely want to listen to =20
>>> the music.
>>>
>>> still ducking...
>>>
>>> Daryl Shawn
>>> www.swanwelder.com
>>> www.chinapaintingmusic.com
>>>
>>>
>>>>
>>>> Speaking of slow acoustic guitar players, anybody hip to Egberto =20=

>>>> Gismonti?
>>>> he can really play slow and beautiful and then blaze away as well
>>>> he played an 8 string guitar in 1975!!
>>>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or =20
>>>> something like that!) LOL   is a good place to start.
>>>>
>>>
>>>
>>
>>
>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 07:36:02 2008
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Much has been said about Fahey's experiments with electronic music and 
electric guitar
later in his life but i can't seem to find examples of any of it on the web.
I subscribe to Rhapsody but they only have his acoustic stuff up to as 
late as 2003.

What electric records did he put out and has anyone heard the fabled all 
electronica record
he's rumored to have released?  I'd love to hear that.

While we are at it.........................
take a gander at this lovely rendition of the Red Pony from an early TV 
show.

Can anyone hip me to the tuning he's using on this song.

It looks like he rarely frets the lowest three strings (are they 
referred to as the top strings or the botton strings, as
they are physically on the top of the guitar relative to the floor but 
they are the lowest notes on the guitar)
except in the intro and outro with the short walking base line played 
with a thumb.

I know it's considered bad technique but I'm loving using my thumb to 
fret the bass strings on some chords.
It just feels more comfortable to my hand than the typical barre chords 
that everyone uses.

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 08:17:41 2008
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>
> " I got to see John somewhere in the 90's  ............. he's playing these
> beautiful sssllllloooooowwww pieces......."
>
>>
>>   I was convinced in the 70s that Fahey was trying to prove he could play
>> slower than any other guitar player,I think he succeeded,he could play much
>> slower than anyone else I've ever heard. It's much more difficult to play an
>> acoustic guitar slowly than an electric guitar fast. Being musical in either
>> case is the big challege and Fahey's slow stuff could have this deeply in
>> the moment sort of  beauty,almost Japanese.
>>
>
Whether I succeed at it or not, I keep that show of Fahey's in mind whenever
I play acoustic.  I played a songwriter showcase gig one time with 4 other
writers and had one very vociferous fan (could hear her clapping and hooting
among the others after every song). She later came up and told me my music
reminded her of the "lowing of the cows", which I couldn't fathom and just
laughed, but now I take it as the highest compliment!  8-)
-- 
Miko Biffle
Biffoz@Gmail.com
MBiffle@FoxRacingShox.com
"Running scared from all the usual distractions!"

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<div class="gmail_quote"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;"><div class="Ih2E3d"><div class="gmail_quote">
&quot; I got to see John somewhere in the 90&#39;s&nbsp; ............. he&#39;s playing these beautiful sssllllloooooowwww pieces.......&quot;<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0px 0px 0px 0.8ex; padding-left: 1ex;">
<div><br>&nbsp; I was convinced in the 70s that Fahey was trying to prove he could play slower than any other guitar player,I think he succeeded,he could play much slower than anyone else I&#39;ve ever heard. It&#39;s much more difficult to play an acoustic guitar slowly than an electric guitar fast. Being musical in either case is the big challege and Fahey&#39;s slow stuff could have this deeply in the moment sort of&nbsp; beauty,almost Japanese.<br>

</div></blockquote></div></div></blockquote></div><br clear="all">Whether I succeed at it or not, I keep that show of Fahey&#39;s in mind whenever I play acoustic.&nbsp; I played a songwriter showcase gig one time with 4 other writers and had one very vociferous fan (could hear her clapping and hooting among the others after every song). She later came up and told me my music reminded her of the &quot;lowing of the cows&quot;, which I couldn&#39;t fathom and just laughed, but now I take it as the highest compliment!&nbsp; 8-) <br>
-- <br>Miko Biffle<br>Biffoz@Gmail.com<br>MBiffle@FoxRacingShox.com<br>&quot;Running scared from all the usual distractions!&quot;<br>

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Did you forget a URL Rick?
I too have never heard Faheys "electronic music"... that is often refered to...

I think its so funny that Fahey comes up so often nowadays. He wa a
discovery of mine back in the early eightys, with an album called
maybe (or maybe not maybe.. maybe exactly..) "The transfiguration of
Joe Death." I never heard anyone else mention him, and it was not the
"time" to take him to parties, it being that awful big hairdo and big
snare-drum time. Isnt it funny when you think yo are the only one who
knows about something. 5n those days I was buying ALOT of second hand
records, basically by the cover... as such there WERE (I sold most of
the 3000 albums I used to own - down to the 300 essenticccccc
cccccccvvvvvvvvvvv  .. sorry ... kids...)

The album was like magic to me, I knew nothiong about acoustic music
or blues or slide guitar... weirdly I have always kept a slide nearby
when I play, and developed a sort of slide technique using masses of
distortion and a wrench which kept the kids happy during my Cranes
period... that I DO think was subconsiously influenced by Fahey.

Weirdly however, I sold the record during the big sell of possesions
period (after a divorce)... and honesly dont want it back... or to
follow up on Fahey. I really think it would be to Folky and whimsical
and... well I am happy with the memory of it.

Having said that, I saw and reviewed Steffen Basho-Junghans at the
Safe as Milk festival in Norway a few years ago, and LOVED him...

http://www.furthernoise.org/index.php?url=page.php&ID=45&iss=50

But he had some other influences coming through that Fahey could not
have, as in... I kid you not... Techno... yes it WAS a very primary
feeling that his style was contributed to by listening to modern
electronic music, Basho managed to get the sound of one guitar (maybe
it was a 12 string?) to whizz about the room,  using no effects but
masses of harmonics, and strumming at an amazing tempo. It was simple
(as in... I could do it when I got home and tried) and wonderful.
Whether I would want to play slash listen to this kind of music all
the time (frankly Im a bit bored with "drone" its all Ive been
listening to for about the last 4 years...)

I suppose I need to listen to Fahey again, but... Im actually quite
happy with my memory of him-....

mark

--
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no



On Sun, Dec 28, 2008 at 8:35 AM, Rick Walker <looppool@cruzio.com> wrote:
>
> Much has been said about Fahey's experiments with electronic music and electric guitar
> later in his life but i can't seem to find examples of any of it on the web.
> I subscribe to Rhapsody but they only have his acoustic stuff up to as late as 2003.
>
> What electric records did he put out and has anyone heard the fabled all electronica record
> he's rumored to have released?  I'd love to hear that.
>
> While we are at it.........................
> take a gander at this lovely rendition of the Red Pony from an early TV show.
>
> Can anyone hip me to the tuning he's using on this song.
>
> It looks like he rarely frets the lowest three strings (are they referred to as the top strings or the botton strings, as
> they are physically on the top of the guitar relative to the floor but they are the lowest notes on the guitar)
> except in the intro and outro with the short walking base line played with a thumb.
>
> I know it's considered bad technique but I'm loving using my thumb to fret the bass strings on some chords.
> It just feels more comfortable to my hand than the typical barre chords that everyone uses.
>

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On Sun, Dec 28, 2008 at 9:30 AM, mark francombe <mark@markfrancombe.com> wrote:
> Did you forget a URL Rick?
> I too have never heard Faheys "electronic music"... that is often refered to...


Some stuff I got to hear on Jamendo, before it was taken off line,
sounded as if they had used an ordinary 24 track tape recorder to
record the band at full speed then doing some additional overdubs and
mixing it at half speed. Certainly gives a dreamy underwater mood to
the music, but "electronic" never came to mind.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 11:19:11 2008
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Date: Sun, 28 Dec 2008 06:19:09 -0500
From: "Jim Goodin" <jimgoodinmusic@gmail.com>
To: loopers-Delight@loopers-delight.com
Subject: Acapella looping as a video soundtrack
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I've been focusing on doing a lot of video editing the last few weeks with
content ranging from past gigs, Y2K images many of you have seen,
neighborhood video essays to some personal work such as my family's
Christmas morning.  I get rather traditional at Christmas and several
seasonal melodies were circling my brain.  I don't sing very well or very
often to be well but somehow these tunes inspired me to start singing bits
and pieces of the First Noel, Up On a Rooftop and Ring Christmas Bells into
my EHX 2880.  The 3 pieces are live loops though I fed them into Audacity to
finalize the sections for my video transition points.  This was a lot of fun
to think outside the 'instruments' that I normally know and to work with
just mic and looper.  http://www.vimeo.com/2650176.

Hope everyone has had a good holiday season and sending the best to all in
the New Year.

Jim
www.vimeo.com/jimgoodindigital
www.jimgoodinmusic.com
www.chinapaintingmusic.com

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<div>I&#39;ve been focusing on doing a lot of video editing the last few weeks with content ranging from past gigs, Y2K images many of you have seen, neighborhood&nbsp;video essays&nbsp;to some personal work such as my&nbsp;family&#39;s Christmas morning.&nbsp; I get rather traditional at Christmas and several seasonal melodies were circling my brain.&nbsp; I don&#39;t sing very well or very often to be well but somehow these tunes inspired me to start singing bits and pieces of the First Noel, Up On a Rooftop and Ring Christmas Bells into my EHX 2880.&nbsp;&nbsp;The 3 pieces&nbsp;are live loops though&nbsp;I fed them into Audacity to finalize the sections for my video transition points.&nbsp; This was a lot of fun to think outside the &#39;instruments&#39; that I normally know and to work with just mic and looper.&nbsp; <a href="http://www.vimeo.com/2650176">http://www.vimeo.com/2650176</a>.</div>

<div>&nbsp;</div>
<div>Hope everyone has had a good holiday season and sending the best to all in the New Year.</div>
<div>&nbsp;</div>
<div>Jim</div>
<div><a href="http://www.vimeo.com/jimgoodindigital">www.vimeo.com/jimgoodindigital</a></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>&nbsp;</div>

------=_Part_162026_2956656.1230463149519--

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Sol do Meio Dia is the album I love the most out of all the Gismonti I've
heard (and, btw, I seem to remember Gary Regina playing excerpted melodies
from it at Y2K4 or 6) . I'll have to look up Loro.

I had the pleasure of spending a couple of hours hanging with him in his
studio in Rio back in '87, introduced by a mutual friend. He hands me this
10-string guitar that Ralph Towner gave him in a tuning that's who knows
what and says, "here, play it". I graciously found a way to not comply....

Really nice guy, brilliant, soulful musician, of course.  As I recall, a
good deal of the conversation centered on the limitations of MOTU's Compose=
r
(remember that, "Fat Mac" users?) and the US's pushiness in Brazil.

Speaking of Gismonti, anyone here heard the Assad brothers rendition of som=
e
of his tunes on their first duo album? (I think it was called Brasiliera)
Beautiful stuff.

Warren

On Sat, Dec 27, 2008 at 10:02 PM, Bruce Gilman <cuica@interworld.net> wrote=
:

> Hi Tilmann,
>
> Bruce here.
>
> You've hit the bull's-eye.
>
> "Loro" is a fantastic work.  It's a Brazilian groove called bai=E3o.
>
> I've heard Egberto plays the out-chrous one of two ways: either
> accelerating to light speed or slowing to complete motionlessness.
>
> Either way, it's striking!
>
> Gismonti definitely cares about sound!  He's a master.
>
> Best,
> B.G.
>
>
>
> On Dec 27, 2008, at 6:20 PM, Tilmann Dehnhard wrote:
>
>  only few other musicians have made me as happy as egberto gismonti.
>> he has written some joyful and simple yet harmonically enthralling piece=
s
>> that
>> made my heart dance on a regular basis.
>> my favourite tune of his is
>> Loro (The Parrot)
>>
>> fantastic piano solo piece
>>
>> tilmann
>>
>>
>> Bruce Gilman schrieb:
>>
>>> Hi all,
>>>
>>> Bruce Gilman here with a number Gismonti recommendations:
>>>
>>> The Altitude of the Sun (Black Sun)
>>> Meeting Point (ECM)
>>> Magico  (ECM)
>>> Kuarup  (Carmo)
>>> Charlie Haden and Egberto gismonti in Montreal  (ECM)
>>> Dan=E7a das Cabe=E7as (ECM)
>>> M=FAsica de Sobreviv=EAncia (ECM)
>>> Cora=E7=F5es Futuristas-*ECM)
>>> Trem Caipira (EMI)
>>> ZigZag (ECM)
>>> Inf=E2ncia (ECM)
>>> Feixe de Luz (EMI)
>>> Sol do Meio Dia (ECM)
>>> Sanfona (ECM)
>>> Alma (EMI)
>>> Dan=E7a doe Escravos (ECM)
>>> Brasil Musical (TomBrasil)
>>> Duas Vozes (ECM)
>>>
>>>
>>> B.G.
>>>
>>> On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
>>>
>>>  Gismonti is so amazing, though I only heard him for the first time thi=
s
>>>> summer. I like recommendations! I reach for his stuff over Fahey - oth=
er
>>>> than his unique dark vibe and some interesting harmonic directions, he=
's
>>>> largely lost on me (ducking) - but that's just taste. Like Charlie Par=
ker,
>>>> Mozart, and Townes Van Zandt, I acknowledge the influence, but rarely =
want
>>>> to listen to the music.
>>>>
>>>> still ducking...
>>>>
>>>> Daryl Shawn
>>>> www.swanwelder.com
>>>> www.chinapaintingmusic.com
>>>>
>>>>
>>>>
>>>>> Speaking of slow acoustic guitar players, anybody hip to Egberto
>>>>> Gismonti?
>>>>> he can really play slow and beautiful and then blaze away as well
>>>>> he played an 8 string guitar in 1975!!
>>>>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or somethin=
g
>>>>> like that!) LOL   is a good place to start.
>>>>>
>>>>>
>>>>
>>>>
>>>
>>>
>>
>>
>


--=20
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
http://www.warrensirota.com

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Sol do Meio Dia is the album I love the most out of all the Gismonti I&#39;=
ve heard (and, btw, I seem to remember Gary Regina playing excerpted melodi=
es from it at Y2K4 or 6) . I&#39;ll have to look up Loro.<br><br>I had the =
pleasure of spending a couple of hours hanging with him in his studio in Ri=
o back in &#39;87, introduced by a mutual friend. He hands me this 10-strin=
g guitar that Ralph Towner gave him in a tuning that&#39;s who knows what a=
nd says, &quot;here, play it&quot;. I graciously found a way to not comply.=
...<br>
<br>Really nice guy, brilliant, soulful musician, of course.&nbsp; As I rec=
all, a good deal of the conversation centered on the limitations of MOTU&#3=
9;s Composer (remember that, &quot;Fat Mac&quot; users?) and the US&#39;s p=
ushiness in Brazil.<br>
<br>Speaking of Gismonti, anyone here heard the Assad brothers rendition of=
 some of his tunes on their first duo album? (I think it was called Brasili=
era) Beautiful stuff.<br><br>Warren<br><br><div class=3D"gmail_quote">On Sa=
t, Dec 27, 2008 at 10:02 PM, Bruce Gilman <span dir=3D"ltr">&lt;<a href=3D"=
mailto:cuica@interworld.net">cuica@interworld.net</a>&gt;</span> wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi Tilmann,<br>
<br>
Bruce here.<br>
<br>
You&#39;ve hit the bull&#39;s-eye.<br>
<br>
&quot;Loro&quot; is a fantastic work. &nbsp;It&#39;s a Brazilian groove cal=
led bai=E3o.<br>
<br>
I&#39;ve heard Egberto plays the out-chrous one of two ways: either acceler=
ating to light speed or slowing to complete motionlessness.<br>
<br>
Either way, it&#39;s striking!<br>
<br>
Gismonti definitely cares about sound! &nbsp;He&#39;s a master.<br>
<br>
Best,<br><font color=3D"#888888">
B.G.</font><div><div></div><div class=3D"Wj3C7c"><br>
<br>
<br>
On Dec 27, 2008, at 6:20 PM, Tilmann Dehnhard wrote:<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
only few other musicians have made me as happy as egberto gismonti.<br>
he has written some joyful and simple yet harmonically enthralling pieces t=
hat<br>
made my heart dance on a regular basis.<br>
my favourite tune of his is<br>
Loro (The Parrot)<br>
<br>
fantastic piano solo piece<br>
<br>
tilmann<br>
<br>
<br>
Bruce Gilman schrieb:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hi all,<br>
<br>
Bruce Gilman here with a number Gismonti recommendations:<br>
<br>
The Altitude of the Sun (Black Sun)<br>
Meeting Point (ECM)<br>
Magico &nbsp;(ECM)<br>
Kuarup &nbsp;(Carmo)<br>
Charlie Haden and Egberto gismonti in Montreal &nbsp;(ECM)<br>
Dan=E7a das Cabe=E7as (ECM)<br>
M=FAsica de Sobreviv=EAncia (ECM)<br>
Cora=E7=F5es Futuristas-*ECM)<br>
Trem Caipira (EMI)<br>
ZigZag (ECM)<br>
Inf=E2ncia (ECM)<br>
Feixe de Luz (EMI)<br>
Sol do Meio Dia (ECM)<br>
Sanfona (ECM)<br>
Alma (EMI)<br>
Dan=E7a doe Escravos (ECM)<br>
Brasil Musical (TomBrasil)<br>
Duas Vozes (ECM)<br>
<br>
<br>
B.G.<br>
<br>
On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Gismonti is so amazing, though I only heard him for the first time this sum=
mer. I like recommendations! I reach for his stuff over Fahey - other than =
his unique dark vibe and some interesting harmonic directions, he&#39;s lar=
gely lost on me (ducking) - but that&#39;s just taste. Like Charlie Parker,=
 Mozart, and Townes Van Zandt, I acknowledge the influence, but rarely want=
 to listen to the music.<br>

<br>
still ducking...<br>
<br>
Daryl Shawn<br>
<a href=3D"http://www.swanwelder.com" target=3D"_blank">www.swanwelder.com<=
/a><br>
<a href=3D"http://www.chinapaintingmusic.com" target=3D"_blank">www.chinapa=
intingmusic.com</a><br>
<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid rgb(204, =
204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?<=
br>
he can really play slow and beautiful and then blaze away as well<br>
he played an 8 string guitar in 1975!!<br>
HIs early ECM stuff is wonderful &nbsp; &nbsp; &nbsp;Dancas das Cabasas (or=
 something like that!) LOL &nbsp; is a good place to start.<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear=3D"all"><br>-- <br>Warren<br><=
a href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ube=
too.com/Artist.taf?_ArtistId=3D6679</a><br><a href=3D"http://www.warrensiro=
ta.com">http://www.warrensirota.com</a><br>


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Subject: Re: gismonti
Date: Sun, 28 Dec 2008 16:41:58 +0100
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I love his music !
It's really hard for me talking about his works... there are too many =20=

beautifull songs... Have you listen to "maracatu" ?
Maybe the Cd I like mostly is "Magico" with Jan Garbarek and Charlie =20
Haden.
Check it out, it's marvellous !

Fabio
www.eterogeneo.com
www.myspace.com/eterogeneo

Il giorno 28/dic/08, alle ore 14:16, "Warren Sirota" =
<wsirota@wsdesigns.com=20
 > ha scritto:

> Sol do Meio Dia is the album I love the most out of all the Gismonti =20=

> I've heard (and, btw, I seem to remember Gary Regina playing =20
> excerpted melodies from it at Y2K4 or 6) . I'll have to look up Loro.
>
> I had the pleasure of spending a couple of hours hanging with him in =20=

> his studio in Rio back in '87, introduced by a mutual friend. He =20
> hands me this 10-string guitar that Ralph Towner gave him in a =20
> tuning that's who knows what and says, "here, play it". I graciously =20=

> found a way to not comply....
>
> Really nice guy, brilliant, soulful musician, of course.  As I =20
> recall, a good deal of the conversation centered on the limitations =20=

> of MOTU's Composer (remember that, "Fat Mac" users?) and the US's =20
> pushiness in Brazil.
>
> Speaking of Gismonti, anyone here heard the Assad brothers rendition =20=

> of some of his tunes on their first duo album? (I think it was =20
> called Brasiliera) Beautiful stuff.
>
> Warren
>
> On Sat, Dec 27, 2008 at 10:02 PM, Bruce Gilman =20
> <cuica@interworld.net> wrote:
> Hi Tilmann,
>
> Bruce here.
>
> You've hit the bull's-eye.
>
> "Loro" is a fantastic work.  It's a Brazilian groove called bai=C3=A3o.
>
> I've heard Egberto plays the out-chrous one of two ways: either =20
> accelerating to light speed or slowing to complete motionlessness.
>
> Either way, it's striking!
>
> Gismonti definitely cares about sound!  He's a master.
>
> Best,
> B.G.
>
>
>
> On Dec 27, 2008, at 6:20 PM, Tilmann Dehnhard wrote:
>
> only few other musicians have made me as happy as egberto gismonti.
> he has written some joyful and simple yet harmonically enthralling =20
> pieces that
> made my heart dance on a regular basis.
> my favourite tune of his is
> Loro (The Parrot)
>
> fantastic piano solo piece
>
> tilmann
>
>
> Bruce Gilman schrieb:
> Hi all,
>
> Bruce Gilman here with a number Gismonti recommendations:
>
> The Altitude of the Sun (Black Sun)
> Meeting Point (ECM)
> Magico  (ECM)
> Kuarup  (Carmo)
> Charlie Haden and Egberto gismonti in Montreal  (ECM)
> Dan=C3=A7a das Cabe=C3=A7as (ECM)
> M=C3=BAsica de Sobreviv=C3=AAncia (ECM)
> Cora=C3=A7=C3=B5es Futuristas-*ECM)
> Trem Caipira (EMI)
> ZigZag (ECM)
> Inf=C3=A2ncia (ECM)
> Feixe de Luz (EMI)
> Sol do Meio Dia (ECM)
> Sanfona (ECM)
> Alma (EMI)
> Dan=C3=A7a doe Escravos (ECM)
> Brasil Musical (TomBrasil)
> Duas Vozes (ECM)
>
>
> B.G.
>
> On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
>
> Gismonti is so amazing, though I only heard him for the first time =20
> this summer. I like recommendations! I reach for his stuff over =20
> Fahey - other than his unique dark vibe and some interesting =20
> harmonic directions, he's largely lost on me (ducking) - but that's =20=

> just taste. Like Charlie Parker, Mozart, and Townes Van Zandt, I =20
> acknowledge the influence, but rarely want to listen to the music.
>
> still ducking...
>
> Daryl Shawn
> www.swanwelder.com
> www.chinapaintingmusic.com
>
>
>
> Speaking of slow acoustic guitar players, anybody hip to Egberto =20
> Gismonti?
> he can really play slow and beautiful and then blaze away as well
> he played an 8 string guitar in 1975!!
> HIs early ECM stuff is wonderful      Dancas das Cabasas (or =20
> something like that!) LOL   is a good place to start.
>
>
>
>
>
>
>
>
>
>
>
> --=20
> Warren
> http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
> http://www.warrensirota.com

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<html><body bgcolor=3D"#FFFFFF"><div>I love his music !</div><div>It's =
really hard for me talking about his works... there are too many =
beautifull songs... Have you listen to "maracatu" ?</div><div>Maybe the =
Cd I like mostly is "Magico" with Jan Garbarek and Charlie =
Haden.</div><div>Check it out, it's marvellous =
!</div><div><br></div><div>Fabio</div><div><a =
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</a></div><div><a =
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</a>&=
nbsp;<br><br>Il giorno 28/dic/08, alle ore 14:16, "Warren Sirota" &lt;<a =
href=3D"mailto:wsirota@wsdesigns.com">wsirota@wsdesigns.com</a>> ha =
scritto:<br><br></div><div></div><blockquote type=3D"cite"><div>Sol do =
Meio Dia is the album I love the most out of all the Gismonti I've heard =
(and, btw, I seem to remember Gary Regina playing excerpted melodies =
from it at Y2K4 or 6) . I'll have to look up Loro.<br><br>I had the =
pleasure of spending a couple of hours hanging with him in his studio in =
Rio back in '87, introduced by a mutual friend. He hands me this =
10-string guitar that Ralph Towner gave him in a tuning that's who knows =
what and says, "here, play it". I graciously found a way to not =
comply....<br>
<br>Really nice guy, brilliant, soulful musician, of course.&nbsp; As I =
recall, a good deal of the conversation centered on the limitations of =
MOTU's Composer (remember that, "Fat Mac" users?) and the US's pushiness =
in Brazil.<br>
<br>Speaking of Gismonti, anyone here heard the Assad brothers rendition =
of some of his tunes on their first duo album? (I think it was called =
Brasiliera) Beautiful stuff.<br><br>Warren<br><br><div =
class=3D"gmail_quote">On Sat, Dec 27, 2008 at 10:02 PM, Bruce Gilman =
<span dir=3D"ltr">&lt;<a href=3D"mailto:cuica@interworld.net"><a =
href=3D"mailto:cuica@interworld.net">cuica@interworld.net</a></a>></span> =
wrote:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid =
rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi =
Tilmann,<br>
<br>
Bruce here.<br>
<br>
You've hit the bull's-eye.<br>
<br>
"Loro" is a fantastic work. &nbsp;It's a Brazilian groove called =
bai=C3=A3o.<br>
<br>
I've heard Egberto plays the out-chrous one of two ways: either =
accelerating to light speed or slowing to complete motionlessness.<br>
<br>
Either way, it's striking!<br>
<br>
Gismonti definitely cares about sound! &nbsp;He's a master.<br>
<br>
Best,<br><font color=3D"#888888">
B.G.</font><div><div></div><div class=3D"Wj3C7c"><br>
<br>
<br>
On Dec 27, 2008, at 6:20 PM, Tilmann Dehnhard wrote:<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid =
rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
only few other musicians have made me as happy as egberto gismonti.<br>
he has written some joyful and simple yet harmonically enthralling =
pieces that<br>
made my heart dance on a regular basis.<br>
my favourite tune of his is<br>
Loro (The Parrot)<br>
<br>
fantastic piano solo piece<br>
<br>
tilmann<br>
<br>
<br>
Bruce Gilman schrieb:<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid =
rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hi all,<br>
<br>
Bruce Gilman here with a number Gismonti recommendations:<br>
<br>
The Altitude of the Sun (Black Sun)<br>
Meeting Point (ECM)<br>
Magico &nbsp;(ECM)<br>
Kuarup &nbsp;(Carmo)<br>
Charlie Haden and Egberto gismonti in Montreal &nbsp;(ECM)<br>
Dan=C3=A7a das Cabe=C3=A7as (ECM)<br>
M=C3=BAsica de Sobreviv=C3=AAncia (ECM)<br>
Cora=C3=A7=C3=B5es Futuristas-*ECM)<br>
Trem Caipira (EMI)<br>
ZigZag (ECM)<br>
Inf=C3=A2ncia (ECM)<br>
Feixe de Luz (EMI)<br>
Sol do Meio Dia (ECM)<br>
Sanfona (ECM)<br>
Alma (EMI)<br>
Dan=C3=A7a doe Escravos (ECM)<br>
Brasil Musical (TomBrasil)<br>
Duas Vozes (ECM)<br>
<br>
<br>
B.G.<br>
<br>
On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid =
rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Gismonti is so amazing, though I only heard him for the first time this =
summer. I like recommendations! I reach for his stuff over Fahey - other =
than his unique dark vibe and some interesting harmonic directions, he's =
largely lost on me (ducking) - but that's just taste. Like Charlie =
Parker, Mozart, and Townes Van Zandt, I acknowledge the influence, but =
rarely want to listen to the music.<br>

<br>
still ducking...<br>
<br>
Daryl Shawn<br>
<a href=3D"http://www.swanwelder.com" target=3D"_blank"><a =
href=3D"http://www.swanwelder.com">www.swanwelder.com</a></a><br>
<a href=3D"http://www.chinapaintingmusic.com" target=3D"_blank"><a =
href=3D"http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a><=
/a><br>
<br>
<br>
<blockquote class=3D"gmail_quote" style=3D"border-left: 1px solid =
rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<br>
Speaking of slow acoustic guitar players, anybody hip to Egberto =
Gismonti?<br>
he can really play slow and beautiful and then blaze away as well<br>
he played an 8 string guitar in 1975!!<br>
HIs early ECM stuff is wonderful &nbsp; &nbsp; &nbsp;Dancas das Cabasas =
(or something like that!) LOL &nbsp; is a good place to start.<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear=3D"all"><br>-- =
<br>Warren<br><a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679"><a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ubet=
oo.com/Artist.taf?_ArtistId=3D6679</a></a><br><a =
href=3D"http://www.warrensirota.com"><a =
href=3D"http://www.warrensirota.com">http://www.warrensirota.com</a></a><b=
r>

</div></blockquote></body></html>=

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Subject: Re: Fahey: a couple of questions
Date: Sun, 28 Dec 2008 11:28:38 -0500
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Some of that "electronic music " can be found here. The 1998 - John Fahey & 
Jim O'Rourke - Live at WNUR Studios, 40 minute archive is here. Pretty cool 
stuff. Also 98s Womblife, which is very different is here. Look for the 
password at the bottom.
http://community.livejournal.com/psych_folk/410776.html

Jeff

----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday, December 28, 2008 3:42 AM
Subject: Re: Fahey: a couple of questions


> On Sun, Dec 28, 2008 at 9:30 AM, mark francombe <mark@markfrancombe.com> 
> wrote:
>> Did you forget a URL Rick?
>> I too have never heard Faheys "electronic music"... that is often refered 
>> to...
>
>
> Some stuff I got to hear on Jamendo, before it was taken off line,
> sounded as if they had used an ordinary 24 track tape recorder to
> record the band at full speed then doing some additional overdubs and
> mixing it at half speed. Certainly gives a dreamy underwater mood to
> the music, but "electronic" never came to mind.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>


--------------------------------------------------------------------------------



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8:49 PM

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Subject: Re: guitar drone music
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Erdem Helvacioglu schrieb:
> i am recording a new guitar-drone record for a german label. i was 
> wondering which contemporary artists i should listen to? any suggestions?

Glen Branca of course...

-- 
Les Ondes Mémorielles---------x--
--_____-----------|-----------|--
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
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From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 18:41:20 2008
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Another bull's-eye!

If I had to pick 10 discs for that proverbial desert island Magico, =20
would be on my list.

That group's version of "Palha=E7o" is to die for.

B.G.


On Dec 28, 2008, at 7:41 AM, fabio@nile wrote:

> I love his music !
> It's really hard for me talking about his works... there are too =20
> many beautifull songs... Have you listen to "maracatu" ?
> Maybe the Cd I like mostly is "Magico" with Jan Garbarek and Charlie =20=

> Haden.
> Check it out, it's marvellous !
>
> Fabio
> www.eterogeneo.com
> www.myspace.com/eterogeneo
>
> Il giorno 28/dic/08, alle ore 14:16, "Warren Sirota" =
<wsirota@wsdesigns.com=20
> > ha scritto:
>
>> Sol do Meio Dia is the album I love the most out of all the =20
>> Gismonti I've heard (and, btw, I seem to remember Gary Regina =20
>> playing excerpted melodies from it at Y2K4 or 6) . I'll have to =20
>> look up Loro.
>>
>> I had the pleasure of spending a couple of hours hanging with him =20
>> in his studio in Rio back in '87, introduced by a mutual friend. He =20=

>> hands me this 10-string guitar that Ralph Towner gave him in a =20
>> tuning that's who knows what and says, "here, play it". I =20
>> graciously found a way to not comply....
>>
>> Really nice guy, brilliant, soulful musician, of course.  As I =20
>> recall, a good deal of the conversation centered on the limitations =20=

>> of MOTU's Composer (remember that, "Fat Mac" users?) and the US's =20
>> pushiness in Brazil.
>>
>> Speaking of Gismonti, anyone here heard the Assad brothers =20
>> rendition of some of his tunes on their first duo album? (I think =20
>> it was called Brasiliera) Beautiful stuff.
>>
>> Warren
>>
>> On Sat, Dec 27, 2008 at 10:02 PM, Bruce Gilman =20
>> <cuica@interworld.net> wrote:
>> Hi Tilmann,
>>
>> Bruce here.
>>
>> You've hit the bull's-eye.
>>
>> "Loro" is a fantastic work.  It's a Brazilian groove called bai=E3o.
>>
>> I've heard Egberto plays the out-chrous one of two ways: either =20
>> accelerating to light speed or slowing to complete motionlessness.
>>
>> Either way, it's striking!
>>
>> Gismonti definitely cares about sound!  He's a master.
>>
>> Best,
>> B.G.
>>
>>
>>
>> On Dec 27, 2008, at 6:20 PM, Tilmann Dehnhard wrote:
>>
>> only few other musicians have made me as happy as egberto gismonti.
>> he has written some joyful and simple yet harmonically enthralling =20=

>> pieces that
>> made my heart dance on a regular basis.
>> my favourite tune of his is
>> Loro (The Parrot)
>>
>> fantastic piano solo piece
>>
>> tilmann
>>
>>
>> Bruce Gilman schrieb:
>> Hi all,
>>
>> Bruce Gilman here with a number Gismonti recommendations:
>>
>> The Altitude of the Sun (Black Sun)
>> Meeting Point (ECM)
>> Magico  (ECM)
>> Kuarup  (Carmo)
>> Charlie Haden and Egberto gismonti in Montreal  (ECM)
>> Dan=E7a das Cabe=E7as (ECM)
>> M=FAsica de Sobreviv=EAncia (ECM)
>> Cora=E7=F5es Futuristas-*ECM)
>> Trem Caipira (EMI)
>> ZigZag (ECM)
>> Inf=E2ncia (ECM)
>> Feixe de Luz (EMI)
>> Sol do Meio Dia (ECM)
>> Sanfona (ECM)
>> Alma (EMI)
>> Dan=E7a doe Escravos (ECM)
>> Brasil Musical (TomBrasil)
>> Duas Vozes (ECM)
>>
>>
>> B.G.
>>
>> On Dec 27, 2008, at 2:22 PM, Daryl Shawn wrote:
>>
>> Gismonti is so amazing, though I only heard him for the first time =20=

>> this summer. I like recommendations! I reach for his stuff over =20
>> Fahey - other than his unique dark vibe and some interesting =20
>> harmonic directions, he's largely lost on me (ducking) - but that's =20=

>> just taste. Like Charlie Parker, Mozart, and Townes Van Zandt, I =20
>> acknowledge the influence, but rarely want to listen to the music.
>>
>> still ducking...
>>
>> Daryl Shawn
>> www.swanwelder.com
>> www.chinapaintingmusic.com
>>
>>
>>
>> Speaking of slow acoustic guitar players, anybody hip to Egberto =20
>> Gismonti?
>> he can really play slow and beautiful and then blaze away as well
>> he played an 8 string guitar in 1975!!
>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or =20
>> something like that!) LOL   is a good place to start.
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> --=20
>> Warren
>> http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
>> http://www.warrensirota.com


--Apple-Mail-2-926890631
Content-Type: text/html;
	charset=ISO-8859-1
Content-Transfer-Encoding: quoted-printable

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Another =
bull's-eye!<div><br></div><div>If I had to pick 10 discs for that =
proverbial desert island <i>Magico, </i>would be on my list. =
&nbsp;</div><div><br></div><div>That group's version of "Palha=E7o" is =
to die =
for.</div><div><br></div><div>B.G.</div><div><br></div><div><br><div><div>=
On Dec 28, 2008, at 7:41 AM, fabio@nile wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
bgcolor=3D"#FFFFFF"><div>I love his music !</div><div>It's really hard =
for me talking about his works... there are too many beautifull songs... =
Have you listen to "maracatu" ?</div><div>Maybe the Cd I like mostly is =
"Magico" with Jan Garbarek and Charlie Haden.</div><div>Check it out, =
it's marvellous !</div><div><br></div><div>Fabio</div><div><a =
href=3D"http://www.eterogeneo.com">www.eterogeneo.com</a></div><div><a =
href=3D"http://www.myspace.com/eterogeneo">www.myspace.com/eterogeneo</a>&=
nbsp;<br><br>Il giorno 28/dic/08, alle ore 14:16, "Warren Sirota" &lt;<a =
href=3D"mailto:wsirota@wsdesigns.com">wsirota@wsdesigns.com</a>> ha =
scritto:<br><br></div><div></div><blockquote type=3D"cite"><div>Sol do =
Meio Dia is the album I love the most out of all the Gismonti I've heard =
(and, btw, I seem to remember Gary Regina playing excerpted melodies =
from it at Y2K4 or 6) . I'll have to look up Loro.<br><br>I had the =
pleasure of spending a couple of hours hanging with him in his studio in =
Rio back in '87, introduced by a mutual friend. He hands me this =
10-string guitar that Ralph Towner gave him in a tuning that's who knows =
what and says, "here, play it". I graciously found a way to not =
comply....<br> <br>Really nice guy, brilliant, soulful musician, of =
course.&nbsp; As I recall, a good deal of the conversation centered on =
the limitations of MOTU's Composer (remember that, "Fat Mac" users?) and =
the US's pushiness in Brazil.<br> <br>Speaking of Gismonti, anyone here =
heard the Assad brothers rendition of some of his tunes on their first =
duo album? (I think it was called Brasiliera) Beautiful =
stuff.<br><br>Warren<br><br><div class=3D"gmail_quote">On Sat, Dec 27, =
2008 at 10:02 PM, Bruce Gilman <span dir=3D"ltr">&lt;<a =
href=3D"mailto:cuica@interworld.net"></a><a =
href=3D"mailto:cuica@interworld.net">cuica@interworld.net</a>></span> =
wrote:<br> <blockquote class=3D"gmail_quote" style=3D"border-left: 1px =
solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: =
1ex;">Hi Tilmann,<br> <br> Bruce here.<br> <br> You've hit the =
bull's-eye.<br> <br> "Loro" is a fantastic work. &nbsp;It's a Brazilian =
groove called bai=E3o.<br> <br> I've heard Egberto plays the out-chrous =
one of two ways: either accelerating to light speed or slowing to =
complete motionlessness.<br> <br> Either way, it's striking!<br> <br> =
Gismonti definitely cares about sound! &nbsp;He's a master.<br> <br> =
Best,<br><font color=3D"#888888"> B.G.</font><div><div></div><div =
class=3D"Wj3C7c"><br> <br> <br> On Dec 27, 2008, at 6:20 PM, Tilmann =
Dehnhard wrote:<br> <br> <blockquote class=3D"gmail_quote" =
style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"> only few other musicians have made me as =
happy as egberto gismonti.<br> he has written some joyful and simple yet =
harmonically enthralling pieces that<br> made my heart dance on a =
regular basis.<br> my favourite tune of his is<br> Loro (The Parrot)<br> =
<br> fantastic piano solo piece<br> <br> tilmann<br> <br> <br> Bruce =
Gilman schrieb:<br> <blockquote class=3D"gmail_quote" =
style=3D"border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt =
0.8ex; padding-left: 1ex;"> Hi all,<br> <br> Bruce Gilman here with a =
number Gismonti recommendations:<br> <br> The Altitude of the Sun (Black =
Sun)<br> Meeting Point (ECM)<br> Magico &nbsp;(ECM)<br> Kuarup =
&nbsp;(Carmo)<br> Charlie Haden and Egberto gismonti in Montreal =
&nbsp;(ECM)<br> Dan=E7a das Cabe=E7as (ECM)<br> M=FAsica de =
Sobreviv=EAncia (ECM)<br> Cora=E7=F5es Futuristas-*ECM)<br> Trem Caipira =
(EMI)<br> ZigZag (ECM)<br> Inf=E2ncia (ECM)<br> Feixe de Luz (EMI)<br> =
Sol do Meio Dia (ECM)<br> Sanfona (ECM)<br> Alma (EMI)<br> Dan=E7a doe =
Escravos (ECM)<br> Brasil Musical (TomBrasil)<br> Duas Vozes (ECM)<br> =
<br> <br> B.G.<br> <br> On Dec 27, 2008, at 2:22 PM, Daryl Shawn =
wrote:<br> <br> <blockquote class=3D"gmail_quote" style=3D"border-left: =
1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: =
1ex;"> Gismonti is so amazing, though I only heard him for the first =
time this summer. I like recommendations! I reach for his stuff over =
Fahey - other than his unique dark vibe and some interesting harmonic =
directions, he's largely lost on me (ducking) - but that's just taste. =
Like Charlie Parker, Mozart, and Townes Van Zandt, I acknowledge the =
influence, but rarely want to listen to the music.<br> <br> still =
ducking...<br> <br> Daryl Shawn<br> <a href=3D"http://www.swanwelder.com" =
target=3D"_blank"></a><a =
href=3D"http://www.swanwelder.com">www.swanwelder.com</a><br> <a =
href=3D"http://www.chinapaintingmusic.com" target=3D"_blank"></a><a =
href=3D"http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a><=
br> <br> <br> <blockquote class=3D"gmail_quote" style=3D"border-left: =
1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: =
1ex;"> <br> Speaking of slow acoustic guitar players, anybody hip to =
Egberto Gismonti?<br> he can really play slow and beautiful and then =
blaze away as well<br> he played an 8 string guitar in 1975!!<br> HIs =
early ECM stuff is wonderful &nbsp; &nbsp; &nbsp;Dancas das Cabasas (or =
something like that!) LOL &nbsp; is a good place to start.<br> <br> =
</blockquote> <br> <br> </blockquote> <br> <br> </blockquote> <br> <br> =
</blockquote> <br> </div></div></blockquote></div><br><br =
clear=3D"all"><br>-- <br>Warren<br><a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679"></a><a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ubet=
oo.com/Artist.taf?_ArtistId=3D6679</a><br><a =
href=3D"http://www.warrensirota.com"></a><a =
href=3D"http://www.warrensirota.com">http://www.warrensirota.com</a><br> =
</div></blockquote></div></blockquote></div><br></div></body></html>=

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Astounding musician, saw Egberto  live in the mid 80's. he played 8 string
and piano and sang a bit as well. Gorgeous music. Ralph Towner once told me
when I asked him if he had ever worked with Egberto ,  said that they had
been gotten together to do a record but that despite what everyone thought,
including each other would be an ultimate meeting of minds, they didn't have
a natural chemistry and the project was shelved. Ralph is a fearless
improviser and I believe Egberto is not that comfortable in that spontaneous
way, more of a methodical composer in the classical sense. Now Ralph Towner
on the other hand, The thing that Homer Simpson said once in and episode
applies to Ralph. Homer after lassoing the Giant Donut logo from a run away
speeding monorail says. "Donuts, is there anything they Can't do?" I feel
the same about Ralph Towner, Is there anything he Can't do?????? Great
guitarist, pianist, synthesizer player, and sound designer, plays several
other instruments and of course a magnificent composer like Gismonti. He
never gets credit for it but he is a true innovator on the 12 string guitar

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'>Astounding musician, saw Egberto =
&nbsp;live
in the mid 80&#8217;s. he played 8 string and piano and sang a bit as =
well. Gorgeous
music. Ralph Towner once told me when I asked him if he had ever worked =
with
Egberto , &nbsp;said that they had been gotten together to do a record =
but that
despite what everyone thought, including each other would be an ultimate
meeting of minds, they didn&#8217;t have a natural chemistry and the =
project
was shelved. Ralph is a fearless improviser and I believe Egberto is not =
that
comfortable in that spontaneous way, more of a methodical composer in =
the
classical sense. Now Ralph Towner on the other hand, The thing that =
Homer
Simpson said once in and episode applies to Ralph. Homer after lassoing =
the
Giant Donut logo from a run away speeding monorail says. &#8220;Donuts, =
is
there anything they Can&#8217;t do?&#8221; I feel the same about Ralph =
Towner,
Is there anything he Can&#8217;t do?????? Great guitarist, pianist, =
synthesizer
player, and sound designer, plays several other instruments and of =
course a magnificent
composer like Gismonti. He never gets credit for it but he is a true =
innovator on
the 12 string guitar<o:p></o:p></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'>Bill<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: fahey and thumb over technique.
Date: Sun, 28 Dec 2008 11:18:02 -0800
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Rick wrote 

I know it's considered bad technique but I'm loving using my thumb to fret
the bass strings on some chords.

It just feels more comfortable to my hand than the typical barre chords that
everyone uses.

 

Tell that to Jimi Hendrix, or Richie Havens, or any one of a number of rock
and roll icons of that same era, Jimmy Page, David Gilmour, even Slow Hand
himself. Sometimes a skinny neck warrants this technique. Late 60's
transitional era strats had pretty skinny necks , so may it was a "necessity
is the mother of invention" kind of thing as well. In the case of Hendrix,
some of his stuff is damn near impossible to play without using the thumb. I
believe in the classical and jazz traditions,  it is considered it bad or
unorthodox, but try using thumb over on a classical guitar width neck and
its next to impossible unless your hands are huge.

Bill


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<p class=3DMsoNormal><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Rick wrote <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"'>I know it's =
considered bad
technique but I'm loving using my thumb to fret the bass strings on some
chords.<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"'>It just feels more
comfortable to my hand than the typical barre chords that everyone =
uses.<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><font size=3D2 face=3DArial><span =
style=3D'font-size:10.0pt;
font-family:Arial'>Tell that to Jimi Hendrix, or Richie Havens, or any =
one of a
number of rock and roll icons of that same era, Jimmy Page, David =
Gilmour, even
Slow Hand himself. Sometimes a skinny neck warrants this technique. Late =
60&#8217;s
transitional era strats had pretty skinny necks , so may it was a =
&#8220;necessity
is the mother of invention&#8221; kind of thing as well. In the case of
Hendrix, some of his stuff is damn near impossible to play without using =
the
thumb. I believe in the classical and jazz traditions, &nbsp;it is =
considered
it bad or unorthodox, but try using thumb over on a classical guitar =
width neck
and its next to impossible unless your hands are =
huge.<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  Sun Dec 28 19:24:52 2008
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From: Jeremy devros <deafrose58@hotmail.com>
To: <loopers-delight@loopers-delight.com>
Subject: RE: Fahey:   a couple of questions
Date: Sun, 28 Dec 2008 11:24:50 -0800
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Happy New Year=2C Rick!=20
Not sure of the below mentioned tuning Fahey used but I saw him at the Cata=
lyst in the mid '80s ( I got turned on to him in the '70s with the Kottke=
=2C Fahey=2C Peter Laing album) He was so drunk he kept asking the audience=
 if he was in tune. But once he started playing=2C ooh=2C boy!
The best part of that evening was he opened for Odetta --The stage was bare=
ly lit and we heard her singing loud and clear--She was in the back of the =
hall and sang her way to the stage without a mic! Incredible evening.=20
J.D.

> Date: Sat=2C 27 Dec 2008 23:35:59 -0800
> From: looppool@cruzio.com
> To: Loopers-Delight@loopers-delight.com
> Subject: Fahey:   a couple of questions
>=20
> Much has been said about Fahey's experiments with electronic music and=20
> electric guitar
> later in his life but i can't seem to find examples of any of it on the w=
eb.
> I subscribe to Rhapsody but they only have his acoustic stuff up to as=20
> late as 2003.
>=20
> What electric records did he put out and has anyone heard the fabled all=
=20
> electronica record
> he's rumored to have released?  I'd love to hear that.
>=20
> While we are at it.........................
> take a gander at this lovely rendition of the Red Pony from an early TV=20
> show.
>=20
> Can anyone hip me to the tuning he's using on this song.
>=20
> It looks like he rarely frets the lowest three strings (are they=20
> referred to as the top strings or the botton strings=2C as
> they are physically on the top of the guitar relative to the floor but=20
> they are the lowest notes on the guitar)
> except in the intro and outro with the short walking base line played=20
> with a thumb.
>=20
> I know it's considered bad technique but I'm loving using my thumb to=20
> fret the bass strings on some chords.
> It just feels more comfortable to my hand than the typical barre chords=20
> that everyone uses.
>=20

_________________________________________________________________
It=92s the same Hotmail=AE. If by =93same=94 you mean up to 70% faster.
http://windowslive.com/online/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_broad=
1_122008=

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</style>
</head>
<body class=3D'hmmessage'>
Happy New Year=2C Rick! <br>Not sure of the below mentioned tuning Fahey us=
ed but I saw him at the Catalyst in the mid '80s ( I got turned on to him i=
n the '70s with the Kottke=2C Fahey=2C Peter Laing album) He was so drunk h=
e kept asking the audience if he was in tune. But once he started playing=
=2C ooh=2C boy!<br>The best part of that evening was he opened for Odetta -=
-The stage was barely lit and we heard her singing loud and clear--She was =
in the back of the hall and sang her way to the stage without a mic! Incred=
ible evening. <br>J.D.<br><br>&gt=3B Date: Sat=2C 27 Dec 2008 23:35:59 -080=
0<br>&gt=3B From: looppool@cruzio.com<br>&gt=3B To: Loopers-Delight@loopers=
-delight.com<br>&gt=3B Subject: Fahey:   a couple of questions<br>&gt=3B <b=
r>&gt=3B Much has been said about Fahey's experiments with electronic music=
 and <br>&gt=3B electric guitar<br>&gt=3B later in his life but i can't see=
m to find examples of any of it on the web.<br>&gt=3B I subscribe to Rhapso=
dy but they only have his acoustic stuff up to as <br>&gt=3B late as 2003.<=
br>&gt=3B <br>&gt=3B What electric records did he put out and has anyone he=
ard the fabled all <br>&gt=3B electronica record<br>&gt=3B he's rumored to =
have released?  I'd love to hear that.<br>&gt=3B <br>&gt=3B While we are at=
 it.........................<br>&gt=3B take a gander at this lovely renditi=
on of the Red Pony from an early TV <br>&gt=3B show.<br>&gt=3B <br>&gt=3B C=
an anyone hip me to the tuning he's using on this song.<br>&gt=3B <br>&gt=
=3B It looks like he rarely frets the lowest three strings (are they <br>&g=
t=3B referred to as the top strings or the botton strings=2C as<br>&gt=3B t=
hey are physically on the top of the guitar relative to the floor but <br>&=
gt=3B they are the lowest notes on the guitar)<br>&gt=3B except in the intr=
o and outro with the short walking base line played <br>&gt=3B with a thumb=
.<br>&gt=3B <br>&gt=3B I know it's considered bad technique but I'm loving =
using my thumb to <br>&gt=3B fret the bass strings on some chords.<br>&gt=
=3B It just feels more comfortable to my hand than the typical barre chords=
 <br>&gt=3B that everyone uses.<br>&gt=3B <br><br /><hr />It=92s the same H=
otmail=AE. If by =93same=94 you mean up to 70% faster. <a href=3D'http://wi=
ndowslive.com/online/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_broad1_122008'=
 target=3D'_new'>Get your account now.</a></body>
</html>=

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From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 19:36:40 2008
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To: LD <Loopers-Delight@loopers-delight.com>
Subject: Re: fahey and thumb over technique.
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There's no such thing as bad technique.
There are techniques which are more or less effective and efficient for a
given situation.

TH

On Sun, Dec 28, 2008 at 11:18 AM, William Walker <billwalker@baymoon.com>wrote:

>  Rick wrote
>
> I know it's considered bad technique but I'm loving using my thumb to fret
> the bass strings on some chords.
>
> It just feels more comfortable to my hand than the typical barre chords
> that everyone uses.
>
>
>

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There&#39;s no such thing as bad technique.<div><br></div><div>There are techniques which are more or less effective and efficient for a given situation.</div><div><br></div><div>TH<br><br><div class="gmail_quote">On Sun, Dec 28, 2008 at 11:18 AM, William Walker <span dir="ltr">&lt;<a href="mailto:billwalker@baymoon.com">billwalker@baymoon.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">








<div lang="EN-US" link="blue" vlink="purple">

<div>

<p><font size="2" face="Arial"><span style="font-size:10.0pt;font-family:Arial">Rick wrote </span></font></p>

<p style="text-autospace:none"><font size="2" face="Courier New"><span style="font-size:10.0pt;font-family:&quot;Courier New&quot;">I know it&#39;s considered bad
technique but I&#39;m loving using my thumb to fret the bass strings on some
chords.</span></font></p>

<p style="text-autospace:none"><font size="2" face="Courier New"><span style="font-size:10.0pt;font-family:&quot;Courier New&quot;">It just feels more
comfortable to my hand than the typical barre chords that everyone uses.</span></font></p>

<p style="text-autospace:none"><br></p></div></div></blockquote></div></div>

------=_Part_129614_19345548.1230492998527--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 19:46:31 2008
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Date: Sun, 28 Dec 2008 20:46:29 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: gismonti
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Bill said:
"Ralph Towner once told me when I asked him if he had ever worked with
Egberto ,  said that they had been gotten together to do a record but
that despite what everyone thought, including each other would be an
ultimate meeting of minds, they didn't have a natural chemistry and
the project was shelved."

Which isn't to say that they didn't work together on an album - and
I'd like to quote Warren:
"Sol do Meio Dia is the album I love the most out of all the Gismonti
I've heard."
Which I have to second, and it also has Ralph Towner on it.

            Rainer

ps: yep, Gismonti is really outstanding all the way.

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 19:57:51 2008
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Date: Sun, 28 Dec 2008 11:57:48 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fahey: a couple of questions
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I'm a fan of Fahey's electronic stuff. I'd recommend City of Refuge,
Womblife (produced by Jim O-Rourke), Hitomi (his last recording)
and maybe the most accessible is Red Cross which is sort of
transitional. As far as I now they are all out of print, though I
found Red Cross at this blog:
http://kicktokill.blogspot.com/2007/12/john-fahey-red-cross-disciple-of-christ.html


On Sun, Dec 28, 2008 at 11:24 AM, Jeremy devros <deafrose58@hotmail.com> wrote:
> Happy New Year, Rick!
> Not sure of the below mentioned tuning Fahey used but I saw him at the
> Catalyst in the mid '80s ( I got turned on to him in the '70s with the
> Kottke, Fahey, Peter Laing album) He was so drunk he kept asking the
> audience if he was in tune. But once he started playing, ooh, boy!
> The best part of that evening was he opened for Odetta --The stage was
> barely lit and we heard her singing loud and clear--She was in the back of
> the hall and sang her way to the stage without a mic! Incredible evening.
> J.D.
>
>> Date: Sat, 27 Dec 2008 23:35:59 -0800
>> From: looppool@cruzio.com
>> To: Loopers-Delight@loopers-delight.com
>> Subject: Fahey: a couple of questions
>>
>> Much has been said about Fahey's experiments with electronic music and
>> electric guitar
>> later in his life but i can't seem to find examples of any of it on the
>> web.
>> I subscribe to Rhapsody but they only have his acoustic stuff up to as
>> late as 2003.
>>
>> What electric records did he put out and has anyone heard the fabled all
>> electronica record
>> he's rumored to have released? I'd love to hear that.
>>
>> While we are at it.........................
>> take a gander at this lovely rendition of the Red Pony from an early TV
>> show.
>>
>> Can anyone hip me to the tuning he's using on this song.
>>
>> It looks like he rarely frets the lowest three strings (are they
>> referred to as the top strings or the botton strings, as
>> they are physically on the top of the guitar relative to the floor but
>> they are the lowest notes on the guitar)
>> except in the intro and outro with the short walking base line played
>> with a thumb.
>>
>> I know it's considered bad technique but I'm loving using my thumb to
>> fret the bass strings on some chords.
>> It just feels more comfortable to my hand than the typical barre chords
>> that everyone uses.
>>
>
> ________________________________
> It's the same Hotmail(R). If by "same" you mean up to 70% faster. Get your
> account now.



-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon

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Date: Sun, 28 Dec 2008 12:23:12 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: gismonti
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Great recommendation Warren, it is a nice album!

On Sun, Dec 28, 2008 at 5:16 AM, Warren Sirota <wsirota@wsdesigns.com> wrote:
> Sol do Meio Dia is the album I love the most out of all the Gismonti I've
> heard (and, btw, I seem to remember Gary Regina playing excerpted melodies
> from it at Y2K4 or 6) . I'll have to look up Loro.

-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon

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Date: Sun, 28 Dec 2008 12:49:11 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Reply-To: agentlesoul2004@yahoo.com
Subject: Re: fahey and thumb over technique.
To: Loopers-Delight@loopers-delight.com
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--0-229737268-1230497351=:56828
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=A0I'll second that=A0opinion about there is no bad technique just people w=
ith bad ears!!
=A0
reallly I think the more different technique's=A0you=A0use=A0and hand posit=
ion for ANY instrument the less chance of developing repetitive motion prob=
lems=A0=A0=A0=A0=A0 Like the kind you get from typing all the time at your =
computer!!=A0 LOL
=A0
I use only=A0open and alternate tunings=A0cause I like the whole drone thin=
g acoustic or plugged in and also the possibities of the unknown whenever I=
 play and so I find my hands and fingers do all sorts of things on there ow=
n.=A0=A0Personally I never got the hang of regular tuning=A0and HATED barre=
 chords THEY HURT LIKE HELL and sounded boring.=A0 Now of course I=A0love=
=A0"real"=A0 guitarist's who are masters in regular tunings.=A0 I am NOT sa=
ying anyone shouldn;t go that route if they want to.=A0 Who can deny Hendri=
x or Robert Quine or Richard Thompson etc.
=A0
just my 2 cents
=A0
peace
marc
=A0=A0=A0=20

--- On Sun, 12/28/08, Travis Hartnett <travishartnett@gmail.com> wrote:

From: Travis Hartnett <travishartnett@gmail.com>
Subject: Re: fahey and thumb over technique.
To: "LD" <Loopers-Delight@loopers-delight.com>
Date: Sunday, December 28, 2008, 2:36 PM


There's no such thing as bad technique.


There are techniques which are more or less effective and efficient for a g=
iven situation.


TH


On Sun, Dec 28, 2008 at 11:18 AM, William Walker <billwalker@baymoon.com> w=
rote:




Rick wrote=20
I know it's considered bad technique but I'm loving using my thumb to fret =
the bass strings on some chords.
It just feels more comfortable to my hand than the typical barre chords tha=
t everyone uses.

=0A=0A=0A      
--0-229737268-1230497351=:56828
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><BR><BR>
<DIV><EM><FONT face=Tahoma color=#4040ff>&nbsp;<FONT face="arial, helvetica, sans-serif">I'll second that&nbsp;opinion about there is no bad technique just people with bad ears!!</FONT></FONT></EM></DIV>
<DIV>&nbsp;</DIV>
<DIV><EM><FONT color=#4040ff>reallly I think the more different technique's&nbsp;you&nbsp;use&nbsp;and hand position for ANY instrument the less chance of developing repetitive motion problems&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Like the kind you get from typing all the time at your computer!!&nbsp; LOL</FONT></EM></DIV>
<DIV>&nbsp;</DIV>
<DIV><EM><FONT color=#4040ff>I use only&nbsp;open and alternate tunings&nbsp;cause I like the whole drone thing acoustic or plugged in and also the possibities of the unknown whenever I play and so I find my hands and fingers do all sorts of things on there own.&nbsp;&nbsp;Personally I never got the hang of regular tuning&nbsp;and HATED barre chords THEY HURT LIKE HELL and sounded boring.&nbsp; Now of course I&nbsp;love&nbsp;"real"&nbsp; guitarist's who are masters in regular tunings.&nbsp; I am NOT saying anyone shouldn;t go that route if they want to.&nbsp; Who can deny Hendrix or Robert Quine or Richard Thompson etc.</FONT></EM></DIV>
<DIV><EM><FONT color=#4040ff></FONT></EM>&nbsp;</DIV>
<DIV><EM><FONT color=#4040ff>just my 2 cents</FONT></EM></DIV>
<DIV><EM><FONT color=#4040ff></FONT></EM>&nbsp;</DIV>
<DIV><EM><FONT color=#4040ff>peace</FONT></EM></DIV>
<DIV><EM><FONT color=#4040ff>marc</FONT></EM></DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV><BR><BR>--- On <B>Sun, 12/28/08, Travis Hartnett <I>&lt;travishartnett@gmail.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Travis Hartnett &lt;travishartnett@gmail.com&gt;<BR>Subject: Re: fahey and thumb over technique.<BR>To: "LD" &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Sunday, December 28, 2008, 2:36 PM<BR><BR>
<DIV id=yiv2005586745>There's no such thing as bad technique.
<DIV><BR></DIV>
<DIV>There are techniques which are more or less effective and efficient for a given situation.</DIV>
<DIV><BR></DIV>
<DIV>TH<BR><BR>
<DIV class=gmail_quote>On Sun, Dec 28, 2008 at 11:18 AM, William Walker <SPAN dir=ltr>&lt;<A href="mailto:billwalker@baymoon.com" target=_blank rel=nofollow>billwalker@baymoon.com</A>&gt;</SPAN> wrote:<BR>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<DIV lang=EN-US>
<DIV>
<DIV><FONT face=Arial size=2><SPAN style="FONT-SIZE: 10pt; FONT-FAMILY: Arial">Rick wrote </SPAN></FONT></DIV>
<DIV><FONT face="Courier New" size=2><SPAN style="FONT-SIZE: 10pt">I know it's considered bad technique but I'm loving using my thumb to fret the bass strings on some chords.</SPAN></FONT></DIV>
<DIV><FONT face="Courier New" size=2><SPAN style="FONT-SIZE: 10pt">It just feels more comfortable to my hand than the typical barre chords that everyone uses.</SPAN></FONT></DIV>
<DIV><BR></DIV></DIV></DIV></BLOCKQUOTE></DIV></DIV></DIV></BLOCKQUOTE></td></tr></table><br>

      
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From: "Travis Hartnett" <travishartnett@gmail.com>
To: LD <Loopers-Delight@loopers-delight.com>
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Of course, all tunings are also open tunings...

On Sun, Dec 28, 2008 at 12:49 PM, Marc Marshall
<agentlesoul2004@yahoo.com>wrote:

>
> *I use only open and alternate tunings cause I like the whole drone thing
> acoustic or plugged in and also the possibities of the unknown whenever I
> play and so I find my hands and fingers do all sorts of things on there own.
>  *
>

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Of course, all tunings are also open tunings...<br><br><div class="gmail_quote">On Sun, Dec 28, 2008 at 12:49 PM, Marc Marshall <span dir="ltr">&lt;<a href="mailto:agentlesoul2004@yahoo.com">agentlesoul2004@yahoo.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;"><table cellspacing="0" cellpadding="0" border="0"><tbody><tr><td valign="top" style="font:inherit">
<div>&nbsp;</div>
<div><em><font color="#4040ff">I use only&nbsp;open and alternate tunings&nbsp;cause I like the whole drone thing acoustic or plugged in and also the possibities of the unknown whenever I play and so I find my hands and fingers do all sorts of things on there own. &nbsp;</font></em></div>
</td></tr></tbody></table></blockquote></div>

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From: Marc Marshall <agentlesoul2004@yahoo.com>
Reply-To: agentlesoul2004@yahoo.com
Subject: Re: fahey and thumb over technique.
To: Loopers-Delight@loopers-delight.com
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(sound of weary=A0voice)
yes of course they are, but in this context I was=A0making the point of hav=
ing the beauty of playing without fretting or fretting with one finger all =
the way across and the benefits of it.
I even=A0made my disclaimer=A0about conventional tuning and how i wasn't pu=
tting it down if you read all the way down.
=A0
bartender- more=A0Pinot=A0Noir please....................=A0
=A0=A0=A0 marc

--- On Sun, 12/28/08, Travis Hartnett <travishartnett@gmail.com> wrote:

From: Travis Hartnett <travishartnett@gmail.com>
Subject: Re: fahey and thumb over technique.
To: "LD" <Loopers-Delight@loopers-delight.com>
Date: Sunday, December 28, 2008, 3:59 PM


Of course, all tunings are also open tunings...


On Sun, Dec 28, 2008 at 12:49 PM, Marc Marshall <agentlesoul2004@yahoo.com>=
 wrote:






=A0
I use only=A0open and alternate tunings=A0cause I like the whole drone thin=
g acoustic or plugged in and also the possibities of the unknown whenever I=
 play and so I find my hands and fingers do all sorts of things on there ow=
n. =A0=0A=0A=0A      
--0-1409637633-1230498309=:87737
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>(sound of weary&nbsp;voice)</DIV>
<DIV>yes of course they are, but in this context I was&nbsp;making the point of having the beauty of playing without fretting or fretting with one finger all the way across and the benefits of it.</DIV>
<DIV>I even&nbsp;made my disclaimer&nbsp;about conventional tuning and how i wasn't putting it down if you read all the way down.</DIV>
<DIV>&nbsp;</DIV>
<DIV>bartender- more&nbsp;Pinot&nbsp;Noir please....................&nbsp;</DIV>
<DIV><A href="http://images.search.yahoo.com/search/images/view?back=http%3A%2F%2Fimages.search.yahoo.com%2Fsearch%2Fimages%3Fp%3Dmbv%2Bloveless%26y%3DSearch%26ei%3DUTF-8%26fr%3Dyfp-t-501%26x%3Dwrt%26js%3D1%26ni%3D20&amp;w=150&amp;h=150&amp;imgurl=www.myownmusicindustry.nl%2Fimages%2Fmybloodyvalentine-loveless.jpg&amp;rurl=http%3A%2F%2Fwww.myownmusicindustry.nl%2Farchives%2Farchive_2005-m05.php&amp;size=5.2kB&amp;name=mybloodyvalentine-loveless.jpg&amp;p=mbv+loveless&amp;type=jpeg&amp;no=11&amp;tt=64&amp;oid=2950ad644219f1da&amp;ei=UTF-8" target=_blank rel=nofollow></A>&nbsp;&nbsp;&nbsp; </DIV>marc<BR><BR>--- On <B>Sun, 12/28/08, Travis Hartnett <I>&lt;travishartnett@gmail.com&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Travis Hartnett &lt;travishartnett@gmail.com&gt;<BR>Subject: Re: fahey and thumb over technique.<BR>To: "LD" &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Sunday, December 28, 2008, 3:59 PM<BR><BR>
<DIV id=yiv552309757>Of course, all tunings are also open tunings...<BR><BR>
<DIV class=gmail_quote>On Sun, Dec 28, 2008 at 12:49 PM, Marc Marshall <SPAN dir=ltr>&lt;<A href="mailto:agentlesoul2004@yahoo.com" target=_blank rel=nofollow>agentlesoul2004@yahoo.com</A>&gt;</SPAN> wrote:<BR>
<BLOCKQUOTE class=gmail_quote style="PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: #ccc 1px solid">
<TABLE cellSpacing=0 cellPadding=0 border=0>
<TBODY>
<TR>
<TD vAlign=top>
<DIV>&nbsp;</DIV>
<DIV><EM><FONT color=#4040ff>I use only&nbsp;open and alternate tunings&nbsp;cause I like the whole drone thing acoustic or plugged in and also the possibities of the unknown whenever I play and so I find my hands and fingers do all sorts of things on there own. &nbsp;</FONT></EM></DIV></TD></TR></TBODY></TABLE></BLOCKQUOTE></DIV></DIV></BLOCKQUOTE></td></tr></table><br>

      
--0-1409637633-1230498309=:87737--

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 21:56:52 2008
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To: Loopers-Delight@loopers-delight.com
From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Fwd: was Fahey now Sharrock  !!!
Date: Sun, 28 Dec 2008 13:56:46 -0800
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Best regards,

tEd =AE KiLLiAn

Creativity represents a miraculous coming together of the uninhibited=20
energy of the child with its apparent opposite and enemy, the sense of=20=

order imposed on the disciplined adult intelligence. =96 Norman =
Podhoretz

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

Begin forwarded message:

> Marc,
>
> I don't see anyone else responding to your post so I guess I'll bite.
>
> I'll confess to being a rather avid Sonny Sharrock fan.
>
> I love his unusually simple jazz melodic sense - as heard on "Ask the=20=

> Ages" (1991) - and his buzz-saw picking as "sheets of sound" - as=20
> heard in a lot of his work with Last Exit).
>
> I guess it's all subjective, but I didn't hear his playing as being=20
> particularly "dark" so much as truly "wounded" and/or in pain (a kind=20=

> of existential thing) with a sort of stubborn, aggressive resitance.
>
> But that's just me.
>
> There is some evidence that on his late '80s "solo" recordings=20
> "Guitar" (1986) and Seize the Rainbow" (1987) he made some use of=20
> looping in the composing/recording process.
>
> I always think of Sonny as a musician who was fully and fiercely=20
> committed to every single note or gesture he made, and (to use an=20
> expression I am rather fond of using) he seemed to be leaning fully=20
> forward into the music with all his might and weight, as if it were=20
> leaning into a strong headwind or storm.
>
> That sort of passion and commitment is what made him a great artist in=20=

> my opinion.
>
> Best regards,
>
> tEd =AE KiLLiAn
>
> Creativity represents a miraculous coming together of the uninhibited=20=

> energy of the child with its apparent opposite and enemy, the sense of=20=

> order imposed on the disciplined adult intelligence. =96 Norman=20
> Podhoretz
>
> http://www.myspace.com/tedkillian
> http://www.reverbnation.com/tedkillian
> http://www.pfmentum.com/PFMCD007.html
> http://www.CDbaby.com/cd/tedkillian
> http://www.guitar9.com/fluxaeterna.html
> http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
> http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768
>
> Ted Killian's "Flux Aeterna" is also available at Apple iTunes
>
> On Dec 27, 2008, at 4:57 PM, Marc Marshall wrote:
>
>>
>> alright just for shits (maybe it is=A0the excellent wine causing =
this)=20
>> LOL
>> I know you=A0have been talking mainly Fahey and acoustic guitar in=20
>> general,=A0BUT you did mention you liked his dark vibe, SO=A0may I =
humbly=20
>> introduce my=A0favorite=A0electric guitar player of taste, technique,=20=

>> dark=A0but lovely vibe/ soul,=A0=A0God rest his soul.................
>> drum roll please zzzzzzzzzzzzzzzzzzzzzzzzzz
>> SONNY SHARROCK
>> man he could play his guitar so it phrased like a saxaphone, (in fact=20=

>> I once heard him say he didn't even like guitar, just sax and drums!)=20=

>> just melody after melody, no pentonic scales=A0(spelled right?) and=20=

>> when he reached for his slide, WOA NELLY
>> it conjured up the dead souls of Blind Willie=A0Johnson, Charly =
Patton,=20
>> Robert Johnson,
>> filtered through a=A0burned =A0out Detroit warehouse and played on=20
>> Thurston Moore's turntable.
>> =A0
>> more wine, bartender!!!=A0 LOL
>> =A0
>> thanks for letting me rant
>> peace
>> marc
>> =A0=A0=A0
>>
>>
>> --- On Sat, 12/27/08, Daryl Shawn <highhorse@mhorse.com> wrote:
>> From: Daryl Shawn <highhorse@mhorse.com>
>> Subject: Re: Fahey
>> To: agentlesoul2004@yahoo.com, Loopers-Delight@loopers-delight.com
>> Date: Saturday, December 27, 2008, 5:22 PM
>>
>> Gismonti is so amazing, though I only heard him for the first time=20
>> this summer.
>> I like recommendations! I reach for his stuff over Fahey - other than=20=

>> his unique
>> dark vibe and some interesting harmonic directions, he's largely lost=20=

>> on me
>> (ducking) - but that's just taste. Like Charlie Parker, Mozart, and=20=

>> Townes
>> Van Zandt, I acknowledge the influence, but rarely want to listen to=20=

>> the music.
>>
>> still ducking...
>>
>> Daryl Shawn
>> www.swanwelder.com
>> www.chinapaintingmusic.com
>>
>>
>> >
>> > Speaking of slow acoustic guitar players, anybody hip to Egberto=20
>> Gismonti?
>> > he can really play slow and beautiful and then blaze away as well
>> > he played an 8 string guitar in 1975!!
>> >  HIs early ECM stuff is wonderful      Dancas das Cabasas (or=20
>> something
>> like that!) LOL   is a good place to start.
>> >
>>
>>
>>
>

From Loopers-Delight-request@loopers-delight.com  Sun Dec 28 22:24:18 2008
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From: "Rick Walker" <looppool@cruzio.com>
To: loopers-delight@loopers-delight.com
Subject: FAHEY
Date: Sun, 28 Dec 2008 14:22:08 -0800
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I've gone to Balango twice now to download the 
FAHEY/O'ROURKE electronica live tracks.

The file has downloaded each time 
and each time I use the provided password at the bottom of the page 
to unRAR them, it tells me that the files are corrupted.

(I am doing this on a Mac,  is that the problem, per chance?   PC only 
or some such nonsense?)

Does anyone have these files in a non-corruptive state so that I could 
listen to them?

Thanks a lot.
--Rick



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Subject: Gismonti Fahye
Date: Sun, 28 Dec 2008 16:07:53 -0800
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--_a89d2207-7eab-4cfb-99b9-8986ebc1e129_
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   I love Gismonti's stuff esp. his collaborations with Nana Vasconcelos=2C=
like Danca Dos Cabeza.
  Fahey also did some experiments in ambient sound recording that were very=
 cool.








If
we take eternity to mean not infinite temporal duration but
timelessness=2C then eternal life belongs to those who live in the
present.Ludwig Wittgenstein




 EMAILING FOR THE GREATER GOOD
Join me

From: Loopers-Delight-d-request@loopers-delight.com
Subject: Loopers-Delight-d Digest V08 #1057
To: Loopers-Delight-d@loopers-delight.com
Date: Sun=2C 28 Dec 2008 18:41:20 +0000



--Forwarded Message Attachment--

Loopers-Delight-d Digest				Volume 08 : Issue 1057
=20
Today's Topics:
  Re: gismonti                          [ "Warren Sirota" <wsirota@wsdesign=
s. ]
  Re: gismonti                          [ "fabio@nile" <eterogenus@gmail.co=
m> ]
  Re: Fahey: a couple of questions      [ "Jeff Duke" <jeff_d@embarqmail.co=
m> ]
  Re: guitar drone music                [ Stefan Tiedje <stefantiedje@googl=
em ]
=20
Administrivia:
Looper's Delight
****************
=20
Please send posts to:
=20
Loopers-Delight@loopers-delight.com
=20
Don't send them to the digest!
=20
To subscribe/unsubscribe to the Loopers-Delight digest version=2C send emai=
l
with "subscribe" (or "unsubscribe") in both the subject and the body=2C wit=
h no
signature files=2C to:
=20
Loopers-Delight-d-request@loopers-delight.com
=20
=20
To subscribe/unsubscribe to the real Loopers-Delight list=2C send email
with "subscribe" (or "unsubscribe") in both the subject and the body=2C wit=
h no
signature files=2C to:
=20
Loopers-Delight-request@loopers-delight.com
=20
=20
Check the web page for archives and lots of other goodies!
=20
http://www.loopers-delight.com
=20
=20
Your humble list maintainer=2C
=20
Kim Flint
kflint@loopers-delight.com


--Forwarded Message Attachment--
Date: Sun=2C 28 Dec 2008 08:16:42 -0500
From: wsirota@wsdesigns.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: gismonti

Sol do Meio Dia is the album I love the most out of all the Gismonti I've h=
eard (and=2C btw=2C I seem to remember Gary Regina playing excerpted melodi=
es from it at Y2K4 or 6) . I'll have to look up Loro.

I had the pleasure of spending a couple of hours hanging with him in his st=
udio in Rio back in '87=2C introduced by a mutual friend. He hands me this =
10-string guitar that Ralph Towner gave him in a tuning that's who knows wh=
at and says=2C "here=2C play it". I graciously found a way to not comply...=
.


Really nice guy=2C brilliant=2C soulful musician=2C of course.  As I recall=
=2C a good deal of the conversation centered on the limitations of MOTU's C=
omposer (remember that=2C "Fat Mac" users?) and the US's pushiness in Brazi=
l.


Speaking of Gismonti=2C anyone here heard the Assad brothers rendition of s=
ome of his tunes on their first duo album? (I think it was called Brasilier=
a) Beautiful stuff.

Warren

On Sat=2C Dec 27=2C 2008 at 10:02 PM=2C Bruce Gilman <cuica@interworld.net>=
 wrote:

Hi Tilmann=2C



Bruce here.



You've hit the bull's-eye.



"Loro" is a fantastic work.  It's a Brazilian groove called bai=E3o.



I've heard Egberto plays the out-chrous one of two ways: either acceleratin=
g to light speed or slowing to complete motionlessness.



Either way=2C it's striking!



Gismonti definitely cares about sound!  He's a master.



Best=2C

B.G.





On Dec 27=2C 2008=2C at 6:20 PM=2C Tilmann Dehnhard wrote:




only few other musicians have made me as happy as egberto gismonti.

he has written some joyful and simple yet harmonically enthralling pieces t=
hat

made my heart dance on a regular basis.

my favourite tune of his is

Loro (The Parrot)



fantastic piano solo piece



tilmann





Bruce Gilman schrieb:


Hi all=2C



Bruce Gilman here with a number Gismonti recommendations:



The Altitude of the Sun (Black Sun)

Meeting Point (ECM)

Magico  (ECM)

Kuarup  (Carmo)

Charlie Haden and Egberto gismonti in Montreal  (ECM)

Dan=E7a das Cabe=E7as (ECM)

M=FAsica de Sobreviv=EAncia (ECM)

Cora=E7=F5es Futuristas-*ECM)

Trem Caipira (EMI)

ZigZag (ECM)

Inf=E2ncia (ECM)

Feixe de Luz (EMI)

Sol do Meio Dia (ECM)

Sanfona (ECM)

Alma (EMI)

Dan=E7a doe Escravos (ECM)

Brasil Musical (TomBrasil)

Duas Vozes (ECM)





B.G.



On Dec 27=2C 2008=2C at 2:22 PM=2C Daryl Shawn wrote:




Gismonti is so amazing=2C though I only heard him for the first time this s=
ummer. I like recommendations! I reach for his stuff over Fahey - other tha=
n his unique dark vibe and some interesting harmonic directions=2C he's lar=
gely lost on me (ducking) - but that's just taste. Like Charlie Parker=2C M=
ozart=2C and Townes Van Zandt=2C I acknowledge the influence=2C but rarely =
want to listen to the music.




still ducking...



Daryl Shawn

www.swanwelder.com

www.chinapaintingmusic.com








Speaking of slow acoustic guitar players=2C anybody hip to Egberto Gismonti=
?

he can really play slow and beautiful and then blaze away as well

he played an 8 string guitar in 1975!!

HIs early ECM stuff is wonderful      Dancas das Cabasas (or something like=
 that!) LOL   is a good place to start.























--=20
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
http://www.warrensirota.com




--Forwarded Message Attachment--
Date: Sun=2C 28 Dec 2008 16:41:58 +0100
From: eterogenus@gmail.com
To: Loopers-Delight@loopers-delight.com
CC: Loopers-Delight@loopers-delight.com
Subject: Re: gismonti

I love his music !It's really hard for me talking about his works... there =
are too many beautifull songs... Have you listen to "maracatu" ?Maybe the C=
d I like mostly is "Magico" with Jan Garbarek and Charlie Haden.Check it ou=
t=2C it's marvellous !
Fabiowww.eterogeneo.comwww.myspace.com/eterogeneo=20

Il giorno 28/dic/08=2C alle ore 14:16=2C "Warren Sirota" <wsirota@wsdesigns=
.com> ha scritto:

Sol do Meio Dia is the album I love the most out of all the Gismonti I've h=
eard (and=2C btw=2C I seem to remember Gary Regina playing excerpted melodi=
es from it at Y2K4 or 6) . I'll have to look up Loro.

I had the pleasure of spending a couple of hours hanging with him in his st=
udio in Rio back in '87=2C introduced by a mutual friend. He hands me this =
10-string guitar that Ralph Towner gave him in a tuning that's who knows wh=
at and says=2C "here=2C play it". I graciously found a way to not comply...=
.


Really nice guy=2C brilliant=2C soulful musician=2C of course.  As I recall=
=2C a good deal of the conversation centered on the limitations of MOTU's C=
omposer (remember that=2C "Fat Mac" users?) and the US's pushiness in Brazi=
l.


Speaking of Gismonti=2C anyone here heard the Assad brothers rendition of s=
ome of his tunes on their first duo album? (I think it was called Brasilier=
a) Beautiful stuff.

Warren

On Sat=2C Dec 27=2C 2008 at 10:02 PM=2C Bruce Gilman <cuica@interworld.net>=
 wrote:

Hi Tilmann=2C



Bruce here.



You've hit the bull's-eye.



"Loro" is a fantastic work.  It's a Brazilian groove called bai=E3o.



I've heard Egberto plays the out-chrous one of two ways: either acceleratin=
g to light speed or slowing to complete motionlessness.



Either way=2C it's striking!



Gismonti definitely cares about sound!  He's a master.



Best=2C

B.G.





On Dec 27=2C 2008=2C at 6:20 PM=2C Tilmann Dehnhard wrote:




only few other musicians have made me as happy as egberto gismonti.

he has written some joyful and simple yet harmonically enthralling pieces t=
hat

made my heart dance on a regular basis.

my favourite tune of his is

Loro (The Parrot)



fantastic piano solo piece



tilmann





Bruce Gilman schrieb:


Hi all=2C



Bruce Gilman here with a number Gismonti recommendations:



The Altitude of the Sun (Black Sun)

Meeting Point (ECM)

Magico  (ECM)

Kuarup  (Carmo)

Charlie Haden and Egberto gismonti in Montreal  (ECM)

Dan=E7a das Cabe=E7as (ECM)

M=FAsica de Sobreviv=EAncia (ECM)

Cora=E7=F5es Futuristas-*ECM)

Trem Caipira (EMI)

ZigZag (ECM)

Inf=E2ncia (ECM)

Feixe de Luz (EMI)

Sol do Meio Dia (ECM)

Sanfona (ECM)

Alma (EMI)

Dan=E7a doe Escravos (ECM)

Brasil Musical (TomBrasil)

Duas Vozes (ECM)





B.G.



On Dec 27=2C 2008=2C at 2:22 PM=2C Daryl Shawn wrote:




Gismonti is so amazing=2C though I only heard him for the first time this s=
ummer. I like recommendations! I reach for his stuff over Fahey - other tha=
n his unique dark vibe and some interesting harmonic directions=2C he's lar=
gely lost on me (ducking) - but that's just taste. Like Charlie Parker=2C M=
ozart=2C and Townes Van Zandt=2C I acknowledge the influence=2C but rarely =
want to listen to the music.




still ducking...



Daryl Shawn

www.swanwelder.com

www.chinapaintingmusic.com








Speaking of slow acoustic guitar players=2C anybody hip to Egberto Gismonti=
?

he can really play slow and beautiful and then blaze away as well

he played an 8 string guitar in 1975!!

HIs early ECM stuff is wonderful      Dancas das Cabasas (or something like=
 that!) LOL   is a good place to start.























--=20
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679
http://www.warrensirota.com




--Forwarded Message Attachment--
Date: Sun=2C 28 Dec 2008 11:28:38 -0500
From: jeff_d@embarqmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Fahey: a couple of questions

Some of that "electronic music " can be found here. The 1998 - John Fahey &=
=20
Jim O'Rourke - Live at WNUR Studios=2C 40 minute archive is here. Pretty co=
ol=20
stuff. Also 98s Womblife=2C which is very different is here. Look for the=20
password at the bottom.
http://community.livejournal.com/psych_folk/410776.html
=20
Jeff
=20
----- Original Message -----=20
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Sunday=2C December 28=2C 2008 3:42 AM
Subject: Re: Fahey: a couple of questions
=20
=20
> On Sun=2C Dec 28=2C 2008 at 9:30 AM=2C mark francombe <mark@markfrancombe=
.com>=20
> wrote:
>> Did you forget a URL Rick?
>> I too have never heard Faheys "electronic music"... that is often refere=
d=20
>> to...
>
>
> Some stuff I got to hear on Jamendo=2C before it was taken off line=2C
> sounded as if they had used an ordinary 24 track tape recorder to
> record the band at full speed then doing some additional overdubs and
> mixing it at half speed. Certainly gives a dreamy underwater mood to
> the music=2C but "electronic" never came to mind.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=3D6550
>
=20
=20
---------------------------------------------------------------------------=
-----
=20
=20
=20
No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.10.0/1866 - Release Date: 12/27/2008=
=20
8:49 PM


--Forwarded Message Attachment--
Date: Sun=2C 28 Dec 2008 17:34:54 +0100
From: stefantiedje@googlemail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: guitar drone music

Erdem Helvacioglu schrieb:
> i am recording a new guitar-drone record for a german label. i was=20
> wondering which contemporary artists i should listen to? any suggestions?
=20
Glen Branca of course...
=20
--=20
Les Ondes M=E9morielles---------x--
--_____-----------|-----------|--
--(_|_ ----|\-----|-----()-------
-- _|_)----|-----()--------------
----------()----------TJ Shredder

--_a89d2207-7eab-4cfb-99b9-8986ebc1e129_
Content-Type: text/html; charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<html>
<head>
<style>
.hmmessage P
{
margin:0px=3B
padding:0px
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{
font-size: 10pt=3B
font-family:Verdana
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<body class=3D'hmmessage'>
&nbsp=3B&nbsp=3B I love Gismonti's stuff esp. his collaborations with Nana =
Vasconcelos=2Clike Danca Dos Cabeza.<br>&nbsp=3B Fahey also did some experi=
ments in ambient sound recording that were very cool.<br><br><blockquote><b=
r><br><br><br><br><br><br><span id=3D"EC__ctl0_ContentPlaceHolder1_NewestQu=
otes1_lblMessage"><p class=3D"EC_quote">If
we take eternity to mean not infinite temporal duration but
timelessness=2C then eternal life belongs to those who live in the
present.</p><div class=3D"EC_source" align=3D"right">Ludwig Wittgenstein</d=
iv></span></blockquote><br><br><br><br><br><table style=3D"border-top: 1px =
solid black=3B font-weight: bold=3B font-family: 'Segoe UI'=2CTahoma=2Csan-=
serif=3B"><tbody><tr><td><a href=3D"http://im.live.com/Messenger/IM/Home/?s=
ource=3DEML_WLHM_GreaterGood" style=3D"font-size: 9pt=3B color: rgb(1=2C 13=
2=2C 203)=3B text-decoration: none=3B"><img style=3D"border-style: none=3B"=
 src=3D"http://gfx1.hotmail.com/mail/w3/ltr/i_charity.gif" alt=3D"i'm"> EMA=
ILING FOR THE GREATER GOOD<br><span style=3D"padding: 0px 24px=3B font-size=
: 8pt=3B color: rgb(63=2C 181=2C 85)=3B text-decoration: underline=3B">Join=
 me</span></a></td></tr></tbody></table><br><br><hr id=3D"stopSpelling">Fro=
m: Loopers-Delight-d-request@loopers-delight.com<br>Subject: Loopers-Deligh=
t-d Digest V08 #1057<br>To: Loopers-Delight-d@loopers-delight.com<br>Date: =
Sun=2C 28 Dec 2008 18:41:20 +0000<br><br><br><br>--Forwarded Message Attach=
ment--<br><br><pre>Loopers-Delight-d Digest				Volume 08 : Issue 1057<br> <=
br>Today's Topics:<br>  Re: gismonti                          [ "Warren Sir=
ota" &lt=3Bwsirota@wsdesigns. ]<br>  Re: gismonti                          =
[ "fabio@nile" &lt=3Beterogenus@gmail.com&gt=3B ]<br>  Re: Fahey: a couple =
of questions      [ "Jeff Duke" &lt=3Bjeff_d@embarqmail.com&gt=3B ]<br>  Re=
: guitar drone music                [ Stefan Tiedje &lt=3Bstefantiedje@goog=
lem ]<br> <br>Administrivia:<br>Looper's Delight<br>****************<br> <b=
r>Please send posts to:<br> <br>Loopers-Delight@loopers-delight.com<br> <br=
>Don't send them to the digest!<br> <br>To subscribe/unsubscribe to the Loo=
pers-Delight digest version=2C send email<br>with "subscribe" (or "unsubscr=
ibe") in both the subject and the body=2C with no<br>signature files=2C to:=
<br> <br>Loopers-Delight-d-request@loopers-delight.com<br> <br> <br>To subs=
cribe/unsubscribe to the real Loopers-Delight list=2C send email<br>with "s=
ubscribe" (or "unsubscribe") in both the subject and the body=2C with no<br=
>signature files=2C to:<br> <br>Loopers-Delight-request@loopers-delight.com=
<br> <br> <br>Check the web page for archives and lots of other goodies!<br=
> <br><a href=3D"http://www.loopers-delight.com">http://www.loopers-delight=
.com</a><br> <br> <br>Your humble list maintainer=2C<br> <br>Kim Flint<br>k=
flint@loopers-delight.com<br></pre><br><br>--Forwarded Message Attachment--=
<br>Date: Sun=2C 28 Dec 2008 08:16:42 -0500<br>From: wsirota@wsdesigns.com<=
br>To: Loopers-Delight@loopers-delight.com<br>Subject: Re: gismonti<br><br>=
Sol do Meio Dia is the album I love the most out of all the Gismonti I've h=
eard (and=2C btw=2C I seem to remember Gary Regina playing excerpted melodi=
es from it at Y2K4 or 6) . I'll have to look up Loro.<br><br>I had the plea=
sure of spending a couple of hours hanging with him in his studio in Rio ba=
ck in '87=2C introduced by a mutual friend. He hands me this 10-string guit=
ar that Ralph Towner gave him in a tuning that's who knows what and says=2C=
 "here=2C play it". I graciously found a way to not comply....<br>
<br>Really nice guy=2C brilliant=2C soulful musician=2C of course.&nbsp=3B =
As I recall=2C a good deal of the conversation centered on the limitations =
of MOTU's Composer (remember that=2C "Fat Mac" users?) and the US's pushine=
ss in Brazil.<br>
<br>Speaking of Gismonti=2C anyone here heard the Assad brothers rendition =
of some of his tunes on their first duo album? (I think it was called Brasi=
liera) Beautiful stuff.<br><br>Warren<br><br><div class=3D"EC_EC_gmail_quot=
e">On Sat=2C Dec 27=2C 2008 at 10:02 PM=2C Bruce Gilman <span dir=3D"ltr">&=
lt=3B<a href=3D"mailto:cuica@interworld.net">cuica@interworld.net</a>&gt=3B=
</span> wrote:<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">Hi T=
ilmann=2C<br>
<br>
Bruce here.<br>
<br>
You've hit the bull's-eye.<br>
<br>
"Loro" is a fantastic work. &nbsp=3BIt's a Brazilian groove called bai=E3o.=
<br>
<br>
I've heard Egberto plays the out-chrous one of two ways: either acceleratin=
g to light speed or slowing to complete motionlessness.<br>
<br>
Either way=2C it's striking!<br>
<br>
Gismonti definitely cares about sound! &nbsp=3BHe's a master.<br>
<br>
Best=2C<br><font color=3D"#888888">
B.G.</font><div><div></div><div class=3D"EC_EC_Wj3C7c"><br>
<br>
<br>
On Dec 27=2C 2008=2C at 6:20 PM=2C Tilmann Dehnhard wrote:<br>
<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
only few other musicians have made me as happy as egberto gismonti.<br>
he has written some joyful and simple yet harmonically enthralling pieces t=
hat<br>
made my heart dance on a regular basis.<br>
my favourite tune of his is<br>
Loro (The Parrot)<br>
<br>
fantastic piano solo piece<br>
<br>
tilmann<br>
<br>
<br>
Bruce Gilman schrieb:<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
Hi all=2C<br>
<br>
Bruce Gilman here with a number Gismonti recommendations:<br>
<br>
The Altitude of the Sun (Black Sun)<br>
Meeting Point (ECM)<br>
Magico &nbsp=3B(ECM)<br>
Kuarup &nbsp=3B(Carmo)<br>
Charlie Haden and Egberto gismonti in Montreal &nbsp=3B(ECM)<br>
Dan=E7a das Cabe=E7as (ECM)<br>
M=FAsica de Sobreviv=EAncia (ECM)<br>
Cora=E7=F5es Futuristas-*ECM)<br>
Trem Caipira (EMI)<br>
ZigZag (ECM)<br>
Inf=E2ncia (ECM)<br>
Feixe de Luz (EMI)<br>
Sol do Meio Dia (ECM)<br>
Sanfona (ECM)<br>
Alma (EMI)<br>
Dan=E7a doe Escravos (ECM)<br>
Brasil Musical (TomBrasil)<br>
Duas Vozes (ECM)<br>
<br>
<br>
B.G.<br>
<br>
On Dec 27=2C 2008=2C at 2:22 PM=2C Daryl Shawn wrote:<br>
<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
Gismonti is so amazing=2C though I only heard him for the first time this s=
ummer. I like recommendations! I reach for his stuff over Fahey - other tha=
n his unique dark vibe and some interesting harmonic directions=2C he's lar=
gely lost on me (ducking) - but that's just taste. Like Charlie Parker=2C M=
ozart=2C and Townes Van Zandt=2C I acknowledge the influence=2C but rarely =
want to listen to the music.<br>

<br>
still ducking...<br>
<br>
Daryl Shawn<br>
<a href=3D"http://www.swanwelder.com">www.swanwelder.com</a><br>
<a href=3D"http://www.chinapaintingmusic.com">www.chinapaintingmusic.com</a=
><br>
<br>
<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
<br>
Speaking of slow acoustic guitar players=2C anybody hip to Egberto Gismonti=
?<br>
he can really play slow and beautiful and then blaze away as well<br>
he played an 8 string guitar in 1975!!<br>
HIs early ECM stuff is wonderful &nbsp=3B &nbsp=3B &nbsp=3BDancas das Cabas=
as (or something like that!) LOL &nbsp=3B is a good place to start.<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear=3D"all"><br>-- <br>Warren<br><=
a href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ube=
too.com/Artist.taf?_ArtistId=3D6679</a><br><a href=3D"http://www.warrensiro=
ta.com">http://www.warrensirota.com</a><br>

<br><br>--Forwarded Message Attachment--<br>Date: Sun=2C 28 Dec 2008 16:41:=
58 +0100<br>From: eterogenus@gmail.com<br>To: Loopers-Delight@loopers-delig=
ht.com<br>CC: Loopers-Delight@loopers-delight.com<br>Subject: Re: gismonti<=
br><br><div>I love his music !</div><div>It's really hard for me talking ab=
out his works... there are too many beautifull songs... Have you listen to =
"maracatu" ?</div><div>Maybe the Cd I like mostly is "Magico" with Jan Garb=
arek and Charlie Haden.</div><div>Check it out=2C it's marvellous !</div><d=
iv><br></div><div>Fabio</div><div><a href=3D"http://www.eterogeneo.com">www=
.eterogeneo.com</a></div><div><a href=3D"http://www.myspace.com/eterogeneo"=
>www.myspace.com/eterogeneo</a>&nbsp=3B<br><br>Il giorno 28/dic/08=2C alle =
ore 14:16=2C "Warren Sirota" &lt=3B<a href=3D"mailto:wsirota@wsdesigns.com"=
>wsirota@wsdesigns.com</a>&gt=3B ha scritto:<br><br></div><div></div><block=
quote><div>Sol do Meio Dia is the album I love the most out of all the Gism=
onti I've heard (and=2C btw=2C I seem to remember Gary Regina playing excer=
pted melodies from it at Y2K4 or 6) . I'll have to look up Loro.<br><br>I h=
ad the pleasure of spending a couple of hours hanging with him in his studi=
o in Rio back in '87=2C introduced by a mutual friend. He hands me this 10-=
string guitar that Ralph Towner gave him in a tuning that's who knows what =
and says=2C "here=2C play it". I graciously found a way to not comply....<b=
r>
<br>Really nice guy=2C brilliant=2C soulful musician=2C of course.&nbsp=3B =
As I recall=2C a good deal of the conversation centered on the limitations =
of MOTU's Composer (remember that=2C "Fat Mac" users?) and the US's pushine=
ss in Brazil.<br>
<br>Speaking of Gismonti=2C anyone here heard the Assad brothers rendition =
of some of his tunes on their first duo album? (I think it was called Brasi=
liera) Beautiful stuff.<br><br>Warren<br><br><div class=3D"EC_EC_gmail_quot=
e">On Sat=2C Dec 27=2C 2008 at 10:02 PM=2C Bruce Gilman <span dir=3D"ltr">&=
lt=3B<a href=3D"mailto:cuica@interworld.net"></a><a href=3D"mailto:cuica@in=
terworld.net">cuica@interworld.net</a>&gt=3B</span> wrote:<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">Hi T=
ilmann=2C<br>
<br>
Bruce here.<br>
<br>
You've hit the bull's-eye.<br>
<br>
"Loro" is a fantastic work. &nbsp=3BIt's a Brazilian groove called bai=E3o.=
<br>
<br>
I've heard Egberto plays the out-chrous one of two ways: either acceleratin=
g to light speed or slowing to complete motionlessness.<br>
<br>
Either way=2C it's striking!<br>
<br>
Gismonti definitely cares about sound! &nbsp=3BHe's a master.<br>
<br>
Best=2C<br><font color=3D"#888888">
B.G.</font><div><div></div><div class=3D"EC_EC_Wj3C7c"><br>
<br>
<br>
On Dec 27=2C 2008=2C at 6:20 PM=2C Tilmann Dehnhard wrote:<br>
<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
only few other musicians have made me as happy as egberto gismonti.<br>
he has written some joyful and simple yet harmonically enthralling pieces t=
hat<br>
made my heart dance on a regular basis.<br>
my favourite tune of his is<br>
Loro (The Parrot)<br>
<br>
fantastic piano solo piece<br>
<br>
tilmann<br>
<br>
<br>
Bruce Gilman schrieb:<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
Hi all=2C<br>
<br>
Bruce Gilman here with a number Gismonti recommendations:<br>
<br>
The Altitude of the Sun (Black Sun)<br>
Meeting Point (ECM)<br>
Magico &nbsp=3B(ECM)<br>
Kuarup &nbsp=3B(Carmo)<br>
Charlie Haden and Egberto gismonti in Montreal &nbsp=3B(ECM)<br>
Dan=E7a das Cabe=E7as (ECM)<br>
M=FAsica de Sobreviv=EAncia (ECM)<br>
Cora=E7=F5es Futuristas-*ECM)<br>
Trem Caipira (EMI)<br>
ZigZag (ECM)<br>
Inf=E2ncia (ECM)<br>
Feixe de Luz (EMI)<br>
Sol do Meio Dia (ECM)<br>
Sanfona (ECM)<br>
Alma (EMI)<br>
Dan=E7a doe Escravos (ECM)<br>
Brasil Musical (TomBrasil)<br>
Duas Vozes (ECM)<br>
<br>
<br>
B.G.<br>
<br>
On Dec 27=2C 2008=2C at 2:22 PM=2C Daryl Shawn wrote:<br>
<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
Gismonti is so amazing=2C though I only heard him for the first time this s=
ummer. I like recommendations! I reach for his stuff over Fahey - other tha=
n his unique dark vibe and some interesting harmonic directions=2C he's lar=
gely lost on me (ducking) - but that's just taste. Like Charlie Parker=2C M=
ozart=2C and Townes Van Zandt=2C I acknowledge the influence=2C but rarely =
want to listen to the music.<br>

<br>
still ducking...<br>
<br>
Daryl Shawn<br>
<a href=3D"http://www.swanwelder.com"></a><a href=3D"http://www.swanwelder.=
com">www.swanwelder.com</a><br>
<a href=3D"http://www.chinapaintingmusic.com"></a><a href=3D"http://www.chi=
napaintingmusic.com">www.chinapaintingmusic.com</a><br>
<br>
<br>
<blockquote class=3D"EC_EC_gmail_quote" style=3D"padding-left: 1ex=3B">
<br>
Speaking of slow acoustic guitar players=2C anybody hip to Egberto Gismonti=
?<br>
he can really play slow and beautiful and then blaze away as well<br>
he played an 8 string guitar in 1975!!<br>
HIs early ECM stuff is wonderful &nbsp=3B &nbsp=3B &nbsp=3BDancas das Cabas=
as (or something like that!) LOL &nbsp=3B is a good place to start.<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear=3D"all"><br>-- <br>Warren<br><=
a href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679"></a><a href=3D=
"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6679">http://www.ubetoo.com/A=
rtist.taf?_ArtistId=3D6679</a><br><a href=3D"http://www.warrensirota.com"><=
/a><a href=3D"http://www.warrensirota.com">http://www.warrensirota.com</a><=
br>

</div></blockquote><br><br>--Forwarded Message Attachment--<br>Date: Sun=2C=
 28 Dec 2008 11:28:38 -0500<br>From: jeff_d@embarqmail.com<br>To: Loopers-D=
elight@loopers-delight.com<br>Subject: Re: Fahey: a couple of questions<br>=
<br><pre>Some of that "electronic music " can be found here. The 1998 - Joh=
n Fahey &amp=3B <br>Jim O'Rourke - Live at WNUR Studios=2C 40 minute archiv=
e is here. Pretty cool <br>stuff. Also 98s Womblife=2C which is very differ=
ent is here. Look for the <br>password at the bottom.<br><a href=3D"http://=
community.livejournal.com/psych_folk/410776.html">http://community.livejour=
nal.com/psych_folk/410776.html</a><br> <br>Jeff<br> <br>----- Original Mess=
age ----- <br>From: "Per Boysen" &lt=3Bperboysen@gmail.com&gt=3B<br>To: &lt=
=3BLoopers-Delight@loopers-delight.com&gt=3B<br>Sent: Sunday=2C December 28=
=2C 2008 3:42 AM<br>Subject: Re: Fahey: a couple of questions<br> <br> <br>=
&gt=3B On Sun=2C Dec 28=2C 2008 at 9:30 AM=2C mark francombe &lt=3Bmark@mar=
kfrancombe.com&gt=3B <br>&gt=3B wrote:<br>&gt=3B&gt=3B Did you forget a URL=
 Rick?<br>&gt=3B&gt=3B I too have never heard Faheys "electronic music"... =
that is often refered <br>&gt=3B&gt=3B to...<br>&gt=3B<br>&gt=3B<br>&gt=3B =
Some stuff I got to hear on Jamendo=2C before it was taken off line=2C<br>&=
gt=3B sounded as if they had used an ordinary 24 track tape recorder to<br>=
&gt=3B record the band at full speed then doing some additional overdubs an=
d<br>&gt=3B mixing it at half speed. Certainly gives a dreamy underwater mo=
od to<br>&gt=3B the music=2C but "electronic" never came to mind.<br>&gt=3B=
<br>&gt=3B Greetings from Sweden<br>&gt=3B<br>&gt=3B Per Boysen<br>&gt=3B w=
ww.boysen.se (Swedish)<br>&gt=3B www.looproom.com (international)<br>&gt=3B=
 www.ubetoo.com/Artist.taf?_ArtistId=3D6550<br>&gt=3B<br> <br> <br>--------=
------------------------------------------------------------------------<br=
> <br> <br> <br>No virus found in this incoming message.<br>Checked by AVG =
- <a href=3D"http://www.avg.com">http://www.avg.com</a><br>Version: 8.0.176=
 / Virus Database: 270.10.0/1866 - Release Date: 12/27/2008 <br>8:49 PM<br>=
</pre><br><br>--Forwarded Message Attachment--<br>Date: Sun=2C 28 Dec 2008 =
17:34:54 +0100<br>From: stefantiedje@googlemail.com<br>To: Loopers-Delight@=
loopers-delight.com<br>Subject: Re: guitar drone music<br><br><pre>Erdem He=
lvacioglu schrieb:<br>&gt=3B i am recording a new guitar-drone record for a=
 german label. i was <br>&gt=3B wondering which contemporary artists i shou=
ld listen to? any suggestions?<br> <br>Glen Branca of course...<br> <br>-- =
<br>Les Ondes M=E9morielles---------x--<br>--_____-----------|-----------|-=
-<br>--(_|_ ----|\-----|-----()-------<br>-- _|_)----|-----()--------------=
<br>----------()----------TJ Shredder<br></pre></body>
</html>=

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"Which isn't to say that they didn't work together on an album - and
I'd like to quote Warren:
"Sol do Meio Dia is the album I love the most out of all the Gismonti
I've heard."
Which I have to second, and it also has Ralph Towner on it."

Thanks for jogging my memory, as I bought that album new when it first came
out....note the word "Album".... It was actually after that I had the
opportunity to speak to Ralph, while he was in town with Oregon to play.  I
have seen them play many times. I believe it was because of that
collaboration that the idea was proposed by ECM to do a duets album. Ralph
is a very open guy with a seriously twisted since of humor, and very honest.
He just said that they didn't have much improvisational report. Sometimes
super groups don't work be cause the participants are so super :-). I miss
Colin Walcott, Oregon's original percussionist who, though not the fiery
genius Trilok Gurtu is, helped to innovate the use of Tablas as part of a
multi drum kit and wasa great musician in his own right. He was also a
beautiful guy who was ready to come to my families house in San Jose to buy
some of the Libyan drums my family had collected while stationed there,
until my dad diplomatically informed him that they were not for sale. 
Bill 









 

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FROM: MR.ABU MUSA
AFRICAN
DEVELOPMENT BANK
BURKINA FASO (ADB)
OUAGADOUGOU BURKINA FASO.
TEL: 00 226 75245017

DEAR FRIEND,

THIS MAIL WILL COME AS SURPRISE FOR YOU TO RECEIVE THIS MAIL. WELCOME THIS LETTER IN THE GREAT ALLAH,I AM MR.ABU MUSA, THE DIRECTOR OF THE ACCOUNT & AUDITING DEPT, AT THE AFRICADEVELOPMENT BANK (ADB) OUAGADOUGOU BURKINA FASO WEST AFRICA. WITH DUEWITH DUE RESPECT,I HAVE DECIDED TO CONTACT YOU ON A BUSINESS TRANSACTION THAT WILL BE BENEFICIAL TO BOTH OF US. AT THE BANK'S LAST ACCOUNT/AUDITINAG EVALUATIONS,I CAME ACROSS AN OLD ACCOUNT WHICH WAS BEING MAINTAINED BY A FOREIGN CLIENT WHO WE LEARNT DIED ON A SUDDEN MOTOR ACCIDENT ALONG TOGO ROAD ON HIS WAY BACK TO BURKINA FASO WITH HIS ENTIRE FAMILY HIS WIFE AND HIS ONLY CHILD ON 6TH NOV.2003.
SINCE THE DECEASED WAS UNABLE TO RUN THIS ACCOUNT SINCE HIS DEATH.

THE ACCOUNT HAS REMAINED DORMANT WITHOUT THE KNOWLEDGE OF HIS FAMILY SINCE IT WAS PUT IN A SAFE DEPOSIT ACCOUNT IN THE BANK FOR FUTURE INVESTMENT BY THE CLIENT. SINCE HIS DEMISE, NOBODY, NOT EVEN THE MEMBERS OF HIS FAMILY HAVE APPLIED FOR CLAIMS OVER THIS FUND AND IT HAS BEEN IN THE SAFE DEPOSIT ACCOUNT UNTIL I DISCOVERED THAT.IT CANNOT BE CLAIMED SINCE OUR CLIENT IS A FOREIGN NATIONAL AND WE ARE SURE THAT HE HAS NO NEXT OF KIN HERE TO FILE CLAIMS OVER THE MONEY. AS THE DIRECTOR OF THE DEPT, THIS DISCOVERY WAS BROUGHT TO MY OFFICE SO AS TO DECIDE WHAT IS TO BE DONE. WITH THE FEW PERSONNEL IN MY DEPT, I DECIDED TO SEEK WAYS THROUGH WHICHTO TRANSFER THIS MONEY OUT OF THE BANK AND OUT OF THE COUNTRY TOO.

THE TOTAL AMOUNT IN THE ACCOUNTS IS TEN MILLION FIVE HUNDRED THOUSAND DOLLARS (USD 10,500,000.00). WITH OUR POSITIONS AS A STAFF OF THE BANK,I CANNOT OPERATE FOREIGN ACCOUNTS AND CANNOT LAY BONAFIDE CLAIM OVER THIS MONEY. WHILE CONTEMPLATING ON WHAT TO DO, I CAME ACROSS YOUR EMAIL CONTACT IN THE INTERNET DIRECTORY AND I DECIDED TO ASK YOU FOR HELP TOTRANSFER THIS MONEY OUT OF THE COUNTRY TO YOUR ACCOUNT IN YOUR COUNTRY.

THE CLIENT IS A FOREIGN NATIONAL AND YOU WILL ONLY BE ASKED TO ACT AS HIS NEXT OF KIN OR BUSINESS PARTNER. I WILL SUPPLY YOU WITH ALL NECESSARY INFORMATION AND BANK DATA TO ASSIST YOU IN BEING ABLE TO TRANSFER THIS MONEY TO ANY BANK OF YOUR CHOICE WHERE THIS MONEY COULD BE TRANSFERRED TO.

I HAVE DECIDED TO GIVE AWAY FORTY %( 40%) TO YOU FOR YOUR ASSISTANCE AND TEN(10%) FOR ANY EXPENSES THAT MIGHT ARISE DURING THE TRANSACTION OF THIS TRANSFER. I WANT TO ASSURE YOU THAT THIS TRANSACTION IS ABSOLUTELY 100% GUARANTEE SINCE I WORK IN THIS BANK WHICH IS WHY YOU SHOULD BE CONFIDENT IN THE SUCCESS OF THIS TRANSACTION BECAUSS YOU WILL BE UPDATED WITH INFORMATION AS AT WHEN DESIRED.

I WILL PLEASE WISH YOU KEEP THIS TRANSACTION SECRET AS I AM HOPING TO RETIRE WITH MY SHARE OF THIS MONEY AT THE END OF TRANSACTION WHICH WILL BE WHEN THIS MONEY IS SAFELY IN YOUR ACCOUNT. I WILL THEN COME OVER TO YOUR COUNTRY FOR SHARING OF THE MONEY ACCORDING TO THE PREVIOUS AGREED PERCENTAGE. YOU MIGHT EVEN HAVE TO ADVISE US ON POSSIBILITIES OF INVESTMENT IN YOUR COUNTRY OR ELSEWHERE OF OUR CHOICE. MAY GOD HELP YOU TO HELP ME TO A RESTIVE RETIREMENT AMEN.

PLEASE FOR FURTHER INFORMATION AND ENQUIRIES FEEL FREE TO CONTACT ME THROUGH MY EMAIL ADDRESS OR CALL ME ON THIS NUMBER 00 226 75245017 FOR ORAL DISCUSSION.. DO NOT HESITATE TO FURNISH ME WITH YOUR PRIVATE TELEPHONE LINE FOR EASY AND EFFECTIVE COMMUNICATION.
I AM WAITING FOR YOUR URGENT RESPONSE PLEASE!!!
THANKS AND REMAIN BLESSED,

BELLOW IS MY RESIDENT CONTACT ADDRESS AND MY TELEPHONE LINE
SIEGE SOCIAL: 01BP 452001 -OUAGADOUGOU 01
TEL: 00 226 75245017

MR.ABU MUSA




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From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 02:36:18 2008
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Subject: FW: fahey and thumb over technique.
Date: Sun, 28 Dec 2008 18:24:41 -0800
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"There's no such thing as bad technique.

 

There are techniques which are more or less effective and efficient for a
given situation.

 

TH

"

 If you mean that an unorthodox technique is not necessarily bad if it
achieves a good musical result, I agree.  However, there is such a thing as
bad technique in any music discipline if it involves doing things that
diminish clear tone production like placing your finger at the back side of
the fret which can create buzzing, which necessitates squeezing harder,
which can create cramping and chronic hand problems, which in turn can cause
the pitch to go sharp, causing tuning issues for yourself and the people you
are playing with.  Did you ever notice that very few of the virtuoso rock
shredders sling their  axes rock and roll low??? No Sid Vicious/ Duff
McKagan. "sling it low for show"  for guys with names like Vai and Satch and
Yngwie. That's because those guys know that to much time spent with your
wrist bent at a weird angle, not only limits your range of reach, it also
can give you carpal tunnel syndrome. I think it's possible to subvert good
technique for artistic reasons, but that is a different thing to me. That is
a matter of choice as opposed to simply not knowing any better. I don't
think there is any evidence to support the theory that learning good
technique was an impediment to the creative process. Is it possible to
create compelling music and art without having good technique? You will get
no argument from me; I'd rather listen to Beck Hansen all day long than
Yngwie Fucking Malmsteen.  I didn't mean anything angry by that last
comment, I just like to say Yngwie Fucking Malmsteen, because of the Brian
Kenney Fresno song.

Bill

 

 


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<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:navy'>&#8220;</span></font>There's no =
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as bad technique.<o:p></o:p></p>

<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>

<p class=3DMsoNormal><font size=3D3 face=3D"Times New Roman"><span =
style=3D'font-size:
12.0pt'>There are techniques which are more or less effective and =
efficient for
a given situation.<o:p></o:p></span></font></p>

<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>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'><font size=3D3
face=3D"Times New Roman"><span =
style=3D'font-size:12.0pt'>TH<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D3 color=3Dnavy face=3D"Times New =
Roman"><span
style=3D'font-size:12.0pt;color:navy'>&#8220;</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;If you mean that an =
unorthodox
technique is not necessarily bad if it achieves a good musical result, I =
agree.
&nbsp;However, there is such a thing as bad technique in any music =
discipline
if it involves doing things that diminish clear tone production like =
placing
your finger at the back side of the fret which can create buzzing, which
necessitates squeezing harder, which can create cramping and chronic =
hand
problems, which in turn can cause the pitch to go sharp, causing tuning =
issues
for yourself and the people you are playing with. &nbsp;Did you ever =
notice
that very few of the virtuoso rock shredders sling their &nbsp;axes rock =
and
roll low??? No Sid Vicious/ Duff McKagan. &#8220;sling it low for =
show&#8221;
&nbsp;for guys with names like Vai and Satch and Yngwie. That&#8217;s =
because
those guys know that to much time spent with your wrist bent at a weird =
angle,
not only limits your range of reach, it also can give you carpal tunnel
syndrome. I think it&#8217;s possible to subvert good technique for =
artistic
reasons, but that is a different thing to me. That is a matter of choice =
as
opposed to simply not knowing any better. I don&#8217;t think there is =
any
evidence to support the theory that learning good technique was an =
impediment
to the creative process. Is it possible to create compelling music and =
art
without having good technique? You will get no argument from me; =
I&#8217;d
rather listen to Beck Hansen all day long than Yngwie Fucking Malmsteen.
&nbsp;I didn&#8217;t mean anything angry by that last comment, I just =
like to
say Yngwie Fucking Malmsteen, because of the Brian Kenney Fresno =
song.<o:p></o:p></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'>Bill<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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Date: Sun, 28 Dec 2008 23:46:53 -0500
From: "radio radio" <radiotelevision@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: 2 questions about akai headrush E2
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I've been thinking about getting one of these for a long time now, and am
now thinking I'm either going to buy one of these now or upgrade some weak
links in my current setup. Which is to say, I got a gift certificate for
xmas and it is burning a hole in my pocket.
I have 2 questions for anyone with experience with the headrush:
(1) hiss? I've read some reviews that the hiss can be bad. My setup is
mildly prone to hiss as is (and I typically take things out because hiss
does bother me).

(2) the 4 output function. This is really the only reason why I'm looking at
this pedal and the main reason I'm writing this email. I want to mess around
with recording with 4 outs and mixing them in surround. my question is how
the 4 outputs, ah, output: when you play a note, does that note play through
all 4 simultaneously when you play it, and THEN echo through the 4 outputs -
1234123412 etc. - or does it play through say output 1, and then echo in
output 2,  then 3, and so on? or something else?

My idea for a setup (since I don't have 4 amps) is to play guitar --> amp
--> mic --> computer/interface; then run that sound through a bus to the
headrush, back to the computer in 4 outputs (I have a mixer if I need it to
keep the levels up to line level), then bus out again through the EDP. That
way I figure I can have the direct amp sound, the 4 independent echos, and
the overall loop (in mono). Is this just crazy talk? My other option is to
spend the money on less fun things that may be more functional (i.e., things
that I wouldn't have to change my current practice to utilize, but would be
less fun toys than upgrades in sound quality, etc.). It's an existential
dilemma, in some ways...

Thanks,
Eben

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I&#39;ve been thinking about getting one of these for a long time now, and am now thinking I&#39;m either going to buy one of these now or upgrade some weak links in my current setup. Which is to say, I got a gift certificate for xmas and it is burning a hole in my pocket.&nbsp;<div>
<br></div><div>I have 2 questions for anyone with experience with the headrush:<div><br></div><div>(1) hiss? I&#39;ve read some reviews that the hiss can be bad. My setup is mildly prone to hiss as is (and I typically take things out because hiss does bother me).&nbsp;</div>
<div><br></div><div>(2) the 4 output function. This is really the only reason why I&#39;m looking at this pedal and the main reason I&#39;m writing this email. I want to mess around with recording with 4 outs and mixing them in surround. my question is how the 4 outputs, ah, output: when you play a note, does that note play through all 4 simultaneously when you play it, and THEN echo through the 4 outputs - 1234123412 etc. - or does it play through say output 1, and then echo in output 2, &nbsp;then 3, and so on? or something else?</div>
<div><br></div><div>My idea for a setup (since I don&#39;t have 4 amps) is to play guitar --&gt; amp --&gt; mic --&gt; computer/interface; then run that sound through a bus to the headrush, back to the computer in 4 outputs&nbsp;(I have a mixer if I need it to keep the levels up to line level), then bus out again through the EDP. That way I figure I can have the direct amp sound, the 4 independent echos, and the overall loop (in mono). Is this just crazy talk? My other option is to spend the money on less fun things that may be more functional (i.e., things that I wouldn&#39;t have to change my current practice to utilize, but would be less fun toys than upgrades in sound quality, etc.). It&#39;s an existential dilemma, in some ways...</div>
<div><br></div><div>Thanks,</div><div>Eben</div><div><br></div><div><br></div></div>

------=_Part_130448_33515988.1230526013095--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 05:39:31 2008
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Date: Sun, 28 Dec 2008 21:39:30 -0800 (PST)
From: George Ludwig <sfmissionman@yahoo.com>
Subject: What does it mean to you, to "release a record"?
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In the digital age, what is your standard procedure, as an independent arti=
st, to =E2=80=9Crelease an album=E2=80=9D? Where do you send it for review?=
 What kind of promo kit do you put together? Do you bother having it physic=
ally duplicated? Etc?=0A=C2=A0=0AIt=E2=80=99s been over ten years since I r=
eleased a record for myself, and a lot has changed. I feel a bit like a din=
osaur. And 2009 looks like I'm going to have several discs to put out!=0A=
=C2=A0=0A-George=0A=0A=0A=0A      

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Subject: Re: fahey and thumb over technique.
Date: Mon, 29 Dec 2008 08:17:05 +0100
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--Apple-Mail-9-972239008
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About thumb over, it was standard practice until the middle of the =20
19th-century.  Even Sor and I think Giuliani mark where you should =20
finger that way in their music. It went out later as necks got larger =20=

and a new school of thought came in, but even in the early 20th =20
century there was the "parlor" guitar school of Olcott-Bickford that =20
used it.

On Dec 29, 2008, at 3:24 AM, William Walker wrote:

> =93There's no such thing as bad technique.
>
> There are techniques which are more or less effective and efficient =20=

> for a given situation.
>
> TH
> =93
>  If you mean that an unorthodox technique is not necessarily bad if =20=

> it achieves a good musical result, I agree.  However, there is such =20=

> a thing as bad technique in any music discipline if it involves =20
> doing things that diminish clear tone production like placing your =20
> finger at the back side of the fret which can create buzzing, which =20=

> necessitates squeezing harder, which can create cramping and chronic =20=

> hand problems, which in turn can cause the pitch to go sharp, =20
> causing tuning issues for yourself and the people you are playing =20
> with.  Did you ever notice that very few of the virtuoso rock =20
> shredders sling their  axes rock and roll low??? No Sid Vicious/ =20
> Duff McKagan. =93sling it low for show=94  for guys with names like =
Vai =20
> and Satch and Yngwie. That=92s because those guys know that to much =20=

> time spent with your wrist bent at a weird angle, not only limits =20
> your range of reach, it also can give you carpal tunnel syndrome. I =20=

> think it=92s possible to subvert good technique for artistic reasons, =20=

> but that is a different thing to me. That is a matter of choice as =20
> opposed to simply not knowing any better. I don=92t think there is any =
=20
> evidence to support the theory that learning good technique was an =20
> impediment to the creative process. Is it possible to create =20
> compelling music and art without having good technique? You will get =20=

> no argument from me; I=92d rather listen to Beck Hansen all day long =20=

> than Yngwie Fucking Malmsteen.  I didn=92t mean anything angry by that =
=20
> last comment, I just like to say Yngwie Fucking Malmsteen, because =20
> of the Brian Kenney Fresno song.
> Bill
>
>
>


--Apple-Mail-9-972239008
Content-Type: text/html;
	charset=WINDOWS-1252
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">About thumb over, it was =
standard practice until the middle of the 19th-century. &nbsp;Even Sor =
and I think Giuliani mark where you should finger that way in their =
music. It went out later as necks got larger and a new school of thought =
came in, but even in the early 20th century there was the "parlor" =
guitar school of Olcott-Bickford that used it.<div><br><div><div>On Dec =
29, 2008, at 3:24 AM, William Walker 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: 'Goudy Old Style'; font-size: 16px; =
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 lang=3D"EN-US" link=3D"blue" =
vlink=3D"blue"><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"3" color=3D"navy" =
face=3D"Times New Roman"><span style=3D"font-size: 12pt; color: navy; =
">=93</span></font>There's no such thing as bad =
technique.<o:p></o:p></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: 12pt; =
"><o:p>&nbsp;</o:p></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: 12pt; ">There are techniques which =
are more or less effective and efficient for a given =
situation.<o:p></o:p></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: 12pt; =
"><o:p>&nbsp;</o:p></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: 12pt; =
">TH<o:p></o:p></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" color=3D"navy" =
face=3D"Times New Roman"><span style=3D"font-size: 12pt; color: navy; =
">=93</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"2" color=3D"navy" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
color: navy; ">&nbsp;If you mean that an unorthodox technique is not =
necessarily bad if it achieves a good musical result, I agree. =
&nbsp;However, there is such a thing as bad technique in any music =
discipline if it involves doing things that diminish clear tone =
production like placing your finger at the back side of the fret which =
can create buzzing, which necessitates squeezing harder, which can =
create cramping and chronic hand problems, which in turn can cause the =
pitch to go sharp, causing tuning issues for yourself and the people you =
are playing with. &nbsp;Did you ever notice that very few of the =
virtuoso rock shredders sling their &nbsp;axes rock and roll low??? No =
Sid Vicious/ Duff McKagan. =93sling it low for show=94 &nbsp;for guys =
with names like Vai and Satch and Yngwie. That=92s because those guys =
know that to much time spent with your wrist bent at a weird angle, not =
only limits your range of reach, it also can give you carpal tunnel =
syndrome. I think it=92s possible to subvert good technique for artistic =
reasons, but that is a different thing to me. That is a matter of choice =
as opposed to simply not knowing any better. I don=92t think there is =
any evidence to support the theory that learning good technique was an =
impediment to the creative process. Is it possible to create compelling =
music and art without having good technique? You will get no argument =
from me; I=92d rather listen to Beck Hansen all day long than Yngwie =
Fucking Malmsteen. &nbsp;I didn=92t mean anything angry by that last =
comment, I just like to say Yngwie Fucking Malmsteen, because of the =
Brian Kenney Fresno song.<o:p></o:p></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"2" color=3D"navy" face=3D"Arial"><span =
style=3D"font-size: 10pt; font-family: Arial; color: navy; =
">Bill<o:p></o:p></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"2" color=3D"navy" =
face=3D"Arial"><span style=3D"font-size: 10pt; font-family: Arial; =
color: navy; "><o:p>&nbsp;</o:p></span></font></div><div><div><div =
link=3D"blue" vlink=3D"purple"><div><p style=3D"margin-right: 0in; =
margin-left: 0in; font-size: 12pt; font-family: 'Times New Roman'; =
"><font size=3D"3" face=3D"Times New Roman"><span style=3D"font-size: =
12pt; =
"><o:p>&nbsp;</o:p></span></font></p></div></div></div></div></div></div><=
/span></blockquote></div><br></div></body></html>=

--Apple-Mail-9-972239008--

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Date: Mon, 29 Dec 2008 11:14:02 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What does it mean to you, to "release a record"?
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On Mon, Dec 29, 2008 at 6:39 AM, George Ludwig <sfmissionman@yahoo.com> wrote:
> In the digital age, what is your standard procedure, as an independent artist, to "release an album"? Where do you send it for review? What kind of promo kit do you put together? Do you bother having it physically duplicated? Etc?
>
> -George


Digital promo kit (zip archive):
- mp3 excerpts from the songs,
- short description of the artist and he music (may include qoutes;
"what others say...")
- artist biography
- short video clip, if avaiabel
- pictures, resolution high enough for paper priniting

Research all players of the media that are active in the relevant
musical field - magazines, fm radio stations, internet radio stations,
free lance journalists, even producers etc etc. Email them and offer
them to request your digital promotion package. Send back the zip file
to those who want it. Wait - do not spam them. Do not deal with
players that are not active in a relevant musical field, you will only
waste their time and piss them off. Doing that will make them file you
into the n00b category. Go for quality and be persistent! Keep track
of everything. Analyze responses statistically.

IMHO this digital age also means that you should be even more careful,
than in the old days, to only release the top quality of your work.
The reason for this view is that with digital distribution there is no
limited issue that will sell out at some point in the future, as with
physical media like CD, vinyl and DVDs. Digital releases will stay
available for ever. A smaller quantity of music is just as easy to
find in search- and recommendation engines as a huge artist catalog.
This also may makes it more relevant to talk about "launching" than
"releasing".

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 11:41:17 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: New Album "Wounded Breath"
Date: Mon, 29 Dec 2008 13:41:10 +0200
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------=_NextPart_000_008E_01C969BB.1C37F580
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Hi to all,

I am very happy to tell you that my new album "Wounded Breath" has been =
released in USA by Aucourant Records!

Here is the link for the album page :

http://www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23

Here you can listen to mp3s of all the tracks on the album.

The album includes 5 of my prizewinning electroacoustic pieces which I =
have performed at prestigious contemporary festivals all around the =
world along with composers such as Paul Lansky, Morton Subotnick etc.=20

The album will be on amazon, itunes, emusic in a  few weeks. If you are =
interested, it is cheaper to buy directly from the label by the way.

Thanks a lot and best regards. Hope you will enjoy the music!

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Wounded Breath" album is out now on Aucourant Records:
www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23

------=_NextPart_000_008E_01C969BB.1C37F580
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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 6.00.2900.3199" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>Hi to all,</DIV>
<DIV>&nbsp;</DIV>
<DIV>I am very happy to tell you that my new album "Wounded Breath" has =
been=20
released in USA by Aucourant Records!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Here is the link for the album page :</DIV>
<DIV>&nbsp;</DIV>
<DIV><A=20
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23<=
/A></DIV>
<DIV>&nbsp;</DIV>
<DIV>Here you can listen to mp3s of all the tracks on the album.</DIV>
<DIV>&nbsp;</DIV>
<DIV>The album includes 5 of my prizewinning electroacoustic pieces =
which I have=20
performed at prestigious contemporary festivals all around the world =
along with=20
composers such as Paul Lansky, Morton Subotnick etc. </DIV>
<DIV>&nbsp;</DIV>
<DIV>The album will be on amazon, itunes, emusic in a&nbsp; few weeks. =
If you=20
are interested, it is cheaper to buy directly from the&nbsp;label by the =

way.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Thanks a lot and best regards. Hope you will enjoy the music!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Wounded Breath" album is out =
now on=20
Aucourant Records:<BR><A=20
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23</A><BR>=
</DIV></BODY></HTML>

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i used to have one
didn't notice too much hiss

the 4 outputs only work with the tape delay, which is very nice, but does
not have infinite feeback. i think the dry signal comes out of the main out
and the delay repeats come out of the other outputs

sim

On Mon, Dec 29, 2008 at 4:46 AM, radio radio <radiotelevision@gmail.com>wrote:

> I've been thinking about getting one of these for a long time now, and am
> now thinking I'm either going to buy one of these now or upgrade some weak
> links in my current setup. Which is to say, I got a gift certificate for
> xmas and it is burning a hole in my pocket.
> I have 2 questions for anyone with experience with the headrush:
> (1) hiss? I've read some reviews that the hiss can be bad. My setup is
> mildly prone to hiss as is (and I typically take things out because hiss
> does bother me).
>
> (2) the 4 output function. This is really the only reason why I'm looking
> at this pedal and the main reason I'm writing this email. I want to mess
> around with recording with 4 outs and mixing them in surround. my question
> is how the 4 outputs, ah, output: when you play a note, does that note play
> through all 4 simultaneously when you play it, and THEN echo through the 4
> outputs - 1234123412 etc. - or does it play through say output 1, and then
> echo in output 2,  then 3, and so on? or something else?
>
> My idea for a setup (since I don't have 4 amps) is to play guitar --> amp
> --> mic --> computer/interface; then run that sound through a bus to the
> headrush, back to the computer in 4 outputs (I have a mixer if I need it to
> keep the levels up to line level), then bus out again through the EDP. That
> way I figure I can have the direct amp sound, the 4 independent echos, and
> the overall loop (in mono). Is this just crazy talk? My other option is to
> spend the money on less fun things that may be more functional (i.e., things
> that I wouldn't have to change my current practice to utilize, but would be
> less fun toys than upgrades in sound quality, etc.). It's an existential
> dilemma, in some ways...
>
> Thanks,
> Eben
>
>
>

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i used to have one<div><br></div><div>didn&#39;t notice too much hiss</div><div><br></div><div>the 4 outputs only work with the tape delay, which is very nice, but does not have infinite feeback. i think the dry signal comes out of the main out and the delay repeats come out of the other outputs</div>
<div><br></div><div>sim<br><br><div class="gmail_quote">On Mon, Dec 29, 2008 at 4:46 AM, radio radio <span dir="ltr">&lt;<a href="mailto:radiotelevision@gmail.com">radiotelevision@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
I&#39;ve been thinking about getting one of these for a long time now, and am now thinking I&#39;m either going to buy one of these now or upgrade some weak links in my current setup. Which is to say, I got a gift certificate for xmas and it is burning a hole in my pocket.&nbsp;<div>

<br></div><div>I have 2 questions for anyone with experience with the headrush:<div><br></div><div>(1) hiss? I&#39;ve read some reviews that the hiss can be bad. My setup is mildly prone to hiss as is (and I typically take things out because hiss does bother me).&nbsp;</div>

<div><br></div><div>(2) the 4 output function. This is really the only reason why I&#39;m looking at this pedal and the main reason I&#39;m writing this email. I want to mess around with recording with 4 outs and mixing them in surround. my question is how the 4 outputs, ah, output: when you play a note, does that note play through all 4 simultaneously when you play it, and THEN echo through the 4 outputs - 1234123412 etc. - or does it play through say output 1, and then echo in output 2, &nbsp;then 3, and so on? or something else?</div>

<div><br></div><div>My idea for a setup (since I don&#39;t have 4 amps) is to play guitar --&gt; amp --&gt; mic --&gt; computer/interface; then run that sound through a bus to the headrush, back to the computer in 4 outputs&nbsp;(I have a mixer if I need it to keep the levels up to line level), then bus out again through the EDP. That way I figure I can have the direct amp sound, the 4 independent echos, and the overall loop (in mono). Is this just crazy talk? My other option is to spend the money on less fun things that may be more functional (i.e., things that I wouldn&#39;t have to change my current practice to utilize, but would be less fun toys than upgrades in sound quality, etc.). It&#39;s an existential dilemma, in some ways...</div>

<div><br></div><div>Thanks,</div><div>Eben</div><div><br></div><div><br></div></div>
</blockquote></div><br></div>

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That's good information Per (I especially like the comment about the
unrecallability of anything you put out - I'm still getting occasional
inquiries about a program I put out in 1995 that became useless in 1997!),
but there's another question implied here: why release an "album" at all?
Is there any reason to do that other than to have something to hawk at gigs?
Why not just "release" (another term with a meaning in transition, like
"album") individual pieces as you finish them?

(you may notice my underlying assumption that it's impossible to make any
money worth thinking about doing these things, at least if your aim and
style are not hit-friendly - therefore my goals with releasing music are
always (a) to have a labeled, finished artifact that pleases me and maybe
will still please me in 5 years, and (b) to see if I can get it exposed to
more others who might be pleased with it. Money does not enter the picture
except I don't want to lose too much.)

Warren

On Mon, Dec 29, 2008 at 5:14 AM, Per Boysen <perboysen@gmail.com> wrote:

> On Mon, Dec 29, 2008 at 6:39 AM, George Ludwig <sfmissionman@yahoo.com>
> wrote:
> > In the digital age, what is your standard procedure, as an independent
> artist, to "release an album"? Where do you send it for review? What kind of
> promo kit do you put together? Do you bother having it physically
> duplicated? Etc?
> >
> > -George
>
>
> Digital promo kit (zip archive):
> - mp3 excerpts from the songs,
> - short description of the artist and he music (may include qoutes;
> "what others say...")
> - artist biography
> - short video clip, if avaiabel
> - pictures, resolution high enough for paper priniting
>
> Research all players of the media that are active in the relevant
> musical field - magazines, fm radio stations, internet radio stations,
> free lance journalists, even producers etc etc. Email them and offer
> them to request your digital promotion package. Send back the zip file
> to those who want it. Wait - do not spam them. Do not deal with
> players that are not active in a relevant musical field, you will only
> waste their time and piss them off. Doing that will make them file you
> into the n00b category. Go for quality and be persistent! Keep track
> of everything. Analyze responses statistically.
>
> IMHO this digital age also means that you should be even more careful,
> than in the old days, to only release the top quality of your work.
> The reason for this view is that with digital distribution there is no
> limited issue that will sell out at some point in the future, as with
> physical media like CD, vinyl and DVDs. Digital releases will stay
> available for ever. A smaller quantity of music is just as easy to
> find in search- and recommendation engines as a huge artist catalog.
> This also may makes it more relevant to talk about "launching" than
> "releasing".
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>


-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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That&#39;s good information Per (I especially like the comment about the unrecallability of anything you put out - I&#39;m still getting occasional inquiries about a program I put out in 1995 that became useless in 1997!), but there&#39;s another question implied here: why release an &quot;album&quot; at all?&nbsp; Is there any reason to do that other than to have something to hawk at gigs? Why not just &quot;release&quot; (another term with a meaning in transition, like &quot;album&quot;) individual pieces as you finish them? <br>
<br>(you may notice my underlying assumption that it&#39;s impossible to make any money worth thinking about doing these things, at least if your aim and style are not hit-friendly - therefore my goals with releasing music are always (a) to have a labeled, finished artifact that pleases me and maybe will still please me in 5 years, and (b) to see if I can get it exposed to more others who might be pleased with it. Money does not enter the picture except I don&#39;t want to lose too much.)<br>
<br>Warren<br><br><div class="gmail_quote">On Mon, Dec 29, 2008 at 5:14 AM, Per Boysen <span dir="ltr">&lt;<a href="mailto:perboysen@gmail.com">perboysen@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d">On Mon, Dec 29, 2008 at 6:39 AM, George Ludwig &lt;<a href="mailto:sfmissionman@yahoo.com">sfmissionman@yahoo.com</a>&gt; wrote:<br>
&gt; In the digital age, what is your standard procedure, as an independent artist, to &quot;release an album&quot;? Where do you send it for review? What kind of promo kit do you put together? Do you bother having it physically duplicated? Etc?<br>

&gt;<br>
</div>&gt; -George<br>
<br>
<br>
Digital promo kit (zip archive):<br>
- mp3 excerpts from the songs,<br>
- short description of the artist and he music (may include qoutes;<br>
&quot;what others say...&quot;)<br>
- artist biography<br>
- short video clip, if avaiabel<br>
- pictures, resolution high enough for paper priniting<br>
<br>
Research all players of the media that are active in the relevant<br>
musical field - magazines, fm radio stations, internet radio stations,<br>
free lance journalists, even producers etc etc. Email them and offer<br>
them to request your digital promotion package. Send back the zip file<br>
to those who want it. Wait - do not spam them. Do not deal with<br>
players that are not active in a relevant musical field, you will only<br>
waste their time and piss them off. Doing that will make them file you<br>
into the n00b category. Go for quality and be persistent! Keep track<br>
of everything. Analyze responses statistically.<br>
<br>
IMHO this digital age also means that you should be even more careful,<br>
than in the old days, to only release the top quality of your work.<br>
The reason for this view is that with digital distribution there is no<br>
limited issue that will sell out at some point in the future, as with<br>
physical media like CD, vinyl and DVDs. Digital releases will stay<br>
available for ever. A smaller quantity of music is just as easy to<br>
find in search- and recommendation engines as a huge artist catalog.<br>
This also may makes it more relevant to talk about &quot;launching&quot; than<br>
&quot;releasing&quot;.<br>
<br>
Greetings from Sweden<br>
<font color="#888888"><br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
</font></blockquote></div><br><br clear="all"><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>


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On Mon, Dec 29, 2008 at 1:26 PM, Warren Sirota <wsirota@wsdesigns.com> wrote:
> That's good information Per (I especially like the comment about the
> unrecallability of anything you put out - I'm still getting occasional
> inquiries about a program I put out in 1995 that became useless in 1997!),
> but there's another question implied here: why release an "album" at all?


Very good point for further discussion! I left out all of that in my
post, but my view is that may you chose to release music digitally,
online, "as an album" if these tracks do have something in common or
may serve an artistic statement if listened to, or thought of, as a
group of musical pieces presented in this particular order.

There is also the marketing aspect to releasing "a digital album". In
the old days a physical album was the product to market. The artist,
looked at as a brand, was just a tool, a strategy to sell the product.
Over time this changed to put more of the focus on branding the
artist. In digital, the artist branding aspect is becoming more
important in a release, meaning "the artist as a brand" actually is
the product rather than "the recently recorded music". Here we find
that a certain selection of recordings presented in a certain order
may give the best presentation of the artist, and that leads us back
to the album format again.

Finally, we also have to look at musical recordings along the axis
that goes from "the recording as the final piece of art" (as in film
soundtracks) to "a viable representation of the artistic performance".
Depending on where you put your own activities on that axis, you may
take a different view on all this.

Excited to hear what other list members think about grouping releases
"as albums" also in a digital online format.

Per

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 14:01:49 2008
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Subject: Re: 2 questions about akai headrush E2
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radio radio wrote:
> I have 2 questions for anyone with experience with the headrush:
> 
> (1) hiss? I've read some reviews that the hiss can be bad. My setup is 
> mildly prone to hiss as is (and I typically take things out because hiss 
> does bother me). 

Can't comment on the hiss, as I don't have one ;)

> (2) the 4 output function...

If no cables are inserted into those outs, all four echo taps (i.e. like 
tape echo heads) are mixed onto the combined out.
Cables inserted into one or more of the head outs will carry that head 
tap, and it will be removed form the mix out.
This also means you can just insert a dummy jack into a head out to 
remove it from the mix.
In the mix out you could then have i.e. 1, 2, no-3, 4.

The 'manual' is downloadable from akaipro.com (maybe akai-pro.com).

-- 
rgds,
van Sinn

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 15:18:55 2008
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Date: Mon, 29 Dec 2008 11:18:53 -0400 (AST)
Subject: Re: 2 questions about akai headrush E2
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hi eben,

i got one to replace my stolen echoplex, but I just use it for looping.

i don't have a problem with hiss, unless that's what going into the headrush.
mind you it has 2 settings when looping, and there's a trade off between
loop length and sound quality.



Andre

http://www.andredonawa.com
http://cdbaby.com/all/andredonawa
http://www.myspace.com/andredonawa

On Mon, December 29, 2008 8:14 am, Simeon Harris wrote:
> i used to have one
> didn't notice too much hiss
>
> the 4 outputs only work with the tape delay, which is very nice, but does
> not have infinite feeback. i think the dry signal comes out of the main
> out
> and the delay repeats come out of the other outputs
>
> sim
>
> On Mon, Dec 29, 2008 at 4:46 AM, radio radio
> <radiotelevision@gmail.com>wrote:
>
>> I've been thinking about getting one of these for a long time now, and
>> am
>> now thinking I'm either going to buy one of these now or upgrade some
>> weak
>> links in my current setup. Which is to say, I got a gift certificate for
>> xmas and it is burning a hole in my pocket.
>> I have 2 questions for anyone with experience with the headrush:
>> (1) hiss? I've read some reviews that the hiss can be bad. My setup is
>> mildly prone to hiss as is (and I typically take things out because hiss
>> does bother me).
>>
>> (2) the 4 output function. This is really the only reason why I'm
>> looking
>> at this pedal and the main reason I'm writing this email. I want to mess
>> around with recording with 4 outs and mixing them in surround. my
>> question
>> is how the 4 outputs, ah, output: when you play a note, does that note
>> play
>> through all 4 simultaneously when you play it, and THEN echo through the
>> 4
>> outputs - 1234123412 etc. - or does it play through say output 1, and
>> then
>> echo in output 2,  then 3, and so on? or something else?
>>
>> My idea for a setup (since I don't have 4 amps) is to play guitar -->
>> amp
>> --> mic --> computer/interface; then run that sound through a bus to the
>> headrush, back to the computer in 4 outputs (I have a mixer if I need it
>> to
>> keep the levels up to line level), then bus out again through the EDP.
>> That
>> way I figure I can have the direct amp sound, the 4 independent echos,
>> and
>> the overall loop (in mono). Is this just crazy talk? My other option is
>> to
>> spend the money on less fun things that may be more functional (i.e.,
>> things
>> that I wouldn't have to change my current practice to utilize, but would
>> be
>> less fun toys than upgrades in sound quality, etc.). It's an existential
>> dilemma, in some ways...
>>
>> Thanks,
>> Eben
>>
>>
>>
>






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Hello all,

Below is some possibly helpful information copied from the Aucourant  
Records site (see Erdem Helvacioglu's post):

"Artists and Repertoire (A&R) - and - Distribution Enquiries:

If you are an established or emerging recording artist and/or  
publisher and you wish to have your recordings featured as a part of  
our expanding catalog, please send a CD(s) of your work(s) for  
evaluation, together with full contact information. If we can feature  
your music we will contact you. Please do not contact us concerning  
unsolicited materials. For information on how to become affiliated  
with Aucourant Records please send an email to: aandr [at]  
aucourantrecords.com. Please note that unsolicited materials will not  
be returned.

It is essential to know the kind of music we are interested in working  
with.  We specialize in electroacoustic music, ambient music,  
experimental music, avant-garde contemporary music, electronica and  
innovative popular music that is both adventurous and cutting-edge.   
If you think your work fits with our vision you are strongly  
encouraged to submit materials for review..

PLEASE NOTE: We DO NOT accept unsolicited materials as digital files  
via email, such as mp3 files. We are able to work only with products  
professionally packaged and fully retail ready."


B.G.

On Dec 29, 2008, at 3:41 AM, Erdem Helvacioglu wrote:

> Hi to all,
>
> I am very happy to tell you that my new album "Wounded Breath" has  
> been released in USA by Aucourant Records!
>
> Here is the link for the album page :
>
> http://www.aucourantrecords.com/catalog.php?op=detail&cid=23
>
> Here you can listen to mp3s of all the tracks on the album.
>
> The album includes 5 of my prizewinning electroacoustic pieces which  
> I have performed at prestigious contemporary festivals all around  
> the world along with composers such as Paul Lansky, Morton Subotnick  
> etc.
>
> The album will be on amazon, itunes, emusic in a  few weeks. If you  
> are interested, it is cheaper to buy directly from the label by the  
> way.
>
> Thanks a lot and best regards. Hope you will enjoy the music!
>
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu
> * * * * * * * * * * * * * * * * * * * *
> "Wounded Breath" album is out now on Aucourant Records:
> www.aucourantrecords.com/catalog.php?op=detail&cid=23


--Apple-Mail-1-1001680130
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Hello =
all,<div><br></div><div>Below is some possibly helpful information =
copied from the&nbsp;<span class=3D"Apple-style-span" =
style=3D"font-family: arial; font-size: 11px; font-weight: bold; "><font =
class=3D"Apple-style-span" color=3D"#111111">Aucourant Records =
site&nbsp;<span class=3D"Apple-style-span" style=3D"color: rgb(0, 0, 0); =
font-family: Helvetica; font-size: 12px; font-weight: normal; =
">(see&nbsp;Erdem Helvacioglu's post)<span class=3D"Apple-style-span" =
style=3D"color: rgb(17, 17, 17); font-family: arial; font-size: 11px; =
font-weight: bold; =
">:</span></span></font></span></div><div><br></div><div><span =
class=3D"Apple-style-span" style=3D"font-family: arial; font-size: 11px; =
font-weight: bold; "><font class=3D"Apple-style-span" =
color=3D"#060606">"Artists and Repertoire (A&amp;R) =
-&nbsp;</font><i><font class=3D"Apple-style-span" =
color=3D"#060606">and</font></i><font class=3D"Apple-style-span" =
color=3D"#060606">&nbsp;- Distribution =
Enquiries:</font></span></div><div><span class=3D"Apple-style-span" =
style=3D"font-family: arial; font-size: 11px; "><font =
class=3D"Apple-style-span" color=3D"#060606"><br>If you are an =
established or emerging recording artist and/or publisher and you wish =
to have your recordings featured as a part of our expanding catalog, =
please send a&nbsp;CD(s) of your work(s) for evaluation, together with =
full contact information. If we can&nbsp;feature your music we will =
contact you. Please do not contact us concerning unsolicited materials. =
For information on how to become affiliated with Aucourant Records =
please&nbsp;send an email to:&nbsp;</font><a =
href=3D"mailto:aucourant@aucourantrecords.com" style=3D"text-decoration: =
underline; "><font class=3D"Apple-style-span" color=3D"#060606">aandr =
[at] aucourantrecords.com</font></a><font class=3D"Apple-style-span" =
color=3D"#060606">.&nbsp;</font><b><font class=3D"Apple-style-span" =
color=3D"#060606">Please note that unsolicited materials =
will&nbsp;</font><u><font class=3D"Apple-style-span" =
color=3D"#060606">not</font></u><font class=3D"Apple-style-span" =
color=3D"#060606">&nbsp;be returned.</font></b><font =
class=3D"Apple-style-span" color=3D"#060606"><br><br>It is essential to =
know the kind of music we are interested in working =
with.&nbsp;&nbsp;</font><b><font class=3D"Apple-style-span" =
color=3D"#060606">We specialize in electroacoustic music, ambient music, =
experimental music, avant-garde contemporary music, electronica and =
innovative popular music that is both adventurous and =
cutting-edge.</font></b><font class=3D"Apple-style-span" =
color=3D"#060606">&nbsp; If you think your work fits with our vision you =
are strongly encouraged to submit materials for =
review..<br><br></font><i><b><font class=3D"Apple-style-span" =
color=3D"#060606">PLEASE NOTE</font></b></i><b><font =
class=3D"Apple-style-span" color=3D"#060606">:&nbsp;</font></b><font =
class=3D"Apple-style-span" color=3D"#060606">We&nbsp;</font><b><font =
class=3D"Apple-style-span" color=3D"#060606">DO =
NOT&nbsp;</font></b><font class=3D"Apple-style-span" =
color=3D"#060606">accept unsolicited materials as digital files via =
email, such as mp3 files. We are able to work&nbsp;</font><u><font =
class=3D"Apple-style-span" color=3D"#060606">only</font></u><font =
class=3D"Apple-style-span" color=3D"#060606">&nbsp;with products =
professionally packaged and fully retail =
ready."</font></span></div><div><font class=3D"Apple-style-span" =
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"#060606"><br></font></span></font></div><div><font =
class=3D"Apple-style-span" color=3D"#060606" face=3D"arial" =
size=3D"3"><span class=3D"Apple-style-span" style=3D"font-size: =
11px;"><br></span></font></div><div><font class=3D"Apple-style-span" =
color=3D"#060606" face=3D"arial" size=3D"3"><span =
class=3D"Apple-style-span" style=3D"font-size: =
11px;">B.G.</span></font></div><div><font class=3D"Apple-style-span" =
color=3D"#9C917C" face=3D"arial" size=3D"3"><span =
class=3D"Apple-style-span" style=3D"font-size: =
11px;"><br></span></font><div><div>On Dec 29, 2008, at 3:41 AM, Erdem =
Helvacioglu 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 bgcolor=3D"#ffffff"><div>Hi =
to all,</div><div>&nbsp;</div><div>I am very happy to tell you that my =
new album "Wounded Breath" has been released in USA by Aucourant =
Records!</div><div>&nbsp;</div><div>Here is the link for the album page =
:</div><div>&nbsp;</div><div><a =
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23</=
a></div><div>&nbsp;</div><div>Here you can listen to mp3s of all the =
tracks on the album.</div><div>&nbsp;</div><div>The album includes 5 of =
my prizewinning electroacoustic pieces which I have performed at =
prestigious contemporary festivals all around the world along with =
composers such as Paul Lansky, Morton Subotnick =
etc.</div><div>&nbsp;</div><div>The album will be on amazon, itunes, =
emusic in a&nbsp; few weeks. If you are interested, it is cheaper to buy =
directly from the&nbsp;label by the =
way.</div><div>&nbsp;</div><div>Thanks a lot and best regards. Hope you =
will enjoy the music!</div><div>&nbsp;</div><div>Erdem Helvacioglu<br><a =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</a><br><=
a =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhelv=
acioglu</a><br>* * * * * * * * * * * * * * * * * * * *<br>"Wounded =
Breath" album is out now on Aucourant Records:<br><a =
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23</a><br><=
/div></div></span></blockquote></div><br></div></body></html>=

--Apple-Mail-1-1001680130--

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 15:38:26 2008
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Date: Mon, 29 Dec 2008 09:18:39 -0600
Subject: Re: What does it mean to you, to "release a record"?
From: Loren Claypool <looper@theclaypools.com>
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--=_84d15de0718949bca54bffdbbd36542d
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=20

	I approach the business of my music with the same focus as I would
take with any other business venture - short of altering the artistic
vision in any way. Certainly my own work is far from mainstream and
I'll continue to follow my muse. But beyond that, to me, a business is
a business with the discipline of a business plan, including all of
the legal aspects, marketing plans, etc., not drudgery at all, but a
fun and intellectually stimulating activity in its own right.=20

	Per hit on several good points. I'd also add it's important to have
a strategy for a website and social network outposts. Follow
chrisbrogan at twitter for an ongoing course and thought provoking
tips on social media for business. It's fascinating and applicable to
our music efforts. Certainly it takes time and energy, but also has
allowed me to connect with people who otherwise would not know of my
work.=20

	Re: CD vs. digital, I considered going all download for my upcoming
release. To gather some market data I did a survey of the folks on my
mailing list, many of whom had bought my album "One Feather Shy",
which was released in August, 2008, some the CD and some the download.
One of the questions was "In what format do you prefer to buy music?"
with options of CD, digital download, vinyl, and other. The results
floored me with 69% saying CD! From follow up conversations I
determined that folks who are interested in buying non-mainstream
music tend to want the physical artifact with the artwork, liner
notes, etc. One comment was "download for normal stuff, CDs for
special stuff." My decision on the next project is to press the CD and
make the download available through services like iTunes, Amazon, and
CD Baby, same as I did on "One Feather Shy". I announced the new
project this weekend. It's called "Breathe", more about that at
http://ping.fm/CCe0W [1].=20

	The concept of delivering songs one-at-a-time is fascinating and
something I'll continue to ponder. At this point I'm more project
focused, but I'm intrigued by the idea of deliverying a steady diet of
material in smaller pieces. I am interested in how folks are doing
this with non-mainstream material in a pay-for environment.=20

	Loren Claypool=20
 genre-indifferent instrumental guitar music=20
 www.lorenclaypool.com=20
 www.myspace.com/lorenclaypool=20

Links:
------
[1] http://ping.fm/CCe0W

--=_84d15de0718949bca54bffdbbd36542d
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<HTML>
<P>I approach the business of&nbsp;my music&nbsp;with the same focus as&nbs=
p;I would take with any other business venture - short of altering the arti=
stic vision in any way. Certainly my own work is far from mainstream and I'=
ll continue to follow my muse. But beyond that, to me,&nbsp;a business&nbsp=
;is a business with the discipline of a business plan, including all of the=
 legal aspects, marketing plans, etc., not&nbsp;drudgery at all, but a fun =
and intellectually stimulating activity in its own right.</P>
<P>Per hit on several good points. I'd also add it's important to have a st=
rategy for a website and social network outposts. Follow chrisbrogan at twi=
tter for an ongoing course and thought provoking tips on social media for b=
usiness. It's fascinating and applicable to our music efforts. Certainly it=
 takes time and energy, but also has allowed me to connect with people who =
otherwise would not know of my work.</P>
<P>Re: CD vs. digital, I considered going all download for my upcoming rele=
ase. To gather some market data I did a survey of the folks&nbsp;on my mail=
ing list, many of whom had bought my&nbsp;album&nbsp;"One Feather Shy", whi=
ch was released in August, 2008, some the CD and some the download. One of =
the questions was "In what format do you prefer to buy music?" with options=
 of CD, digital download, vinyl, and other. The results floored me with 69%=
 saying CD! From follow up conversations I determined that folks who are in=
terested in buying non-mainstream music tend to want the physical artifact =
with the artwork, liner notes, etc. One comment was "download for normal st=
uff, CDs for special stuff." My decision on the next project is to press th=
e CD and make the download available through services like iTunes, Amazon, =
and CD Baby, same as I did on "One Feather Shy". I announced the new projec=
t this weekend. It's called "Breathe", more about that at <A href=3D"http:/=
/ping.fm/CCe0W">http://ping.fm/CCe0W</A>.</P>
<P>The concept of delivering songs one-at-a-time is fascinating and somethi=
ng I'll continue to ponder. At this point I'm more project focused, but I'm=
 intrigued by the idea of deliverying a steady diet of material in smaller =
pieces. I am interested in how folks are doing this with non-mainstream mat=
erial in a pay-for environment.</P>
<P>Loren Claypool <br>

genre-indifferent instrumental guitar music <br>

www.lorenclaypool.com <br>

www.myspace.com/lorenclaypool </P></HTML>
--=_84d15de0718949bca54bffdbbd36542d--

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Date: Mon, 29 Dec 2008 18:04:47 +0000
From: "Kayla Kavanagh" <irishkayla@googlemail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: 2 questions about akai headrush E2
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I use one regularly, and have never noticed any hiss at all!

As for the four outputs, you can set the heads to independent speakers,
which I did here: http://uk.youtube.com/watch?v=gy-SVV8b3QI


2008/12/29 van Sinn <vansinn@post.cybercity.dk>

> radio radio wrote:
>
>> I have 2 questions for anyone with experience with the headrush:
>>
>> (1) hiss? I've read some reviews that the hiss can be bad. My setup is
>> mildly prone to hiss as is (and I typically take things out because hiss
>> does bother me).
>>
>
> Can't comment on the hiss, as I don't have one ;)
>
>  (2) the 4 output function...
>>
>
> If no cables are inserted into those outs, all four echo taps (i.e. like
> tape echo heads) are mixed onto the combined out.
> Cables inserted into one or more of the head outs will carry that head tap,
> and it will be removed form the mix out.
> This also means you can just insert a dummy jack into a head out to remove
> it from the mix.
> In the mix out you could then have i.e. 1, 2, no-3, 4.
>
> The 'manual' is downloadable from akaipro.com (maybe akai-pro.com).
>
> --
> rgds,
> van Sinn
>
>


-- 
Kayla's website: http://www.kaylakavanagh.com
MySpace: http://www.myspace.com/kaylakavanagh
FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk

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I use one regularly, and have never noticed any hiss at all!<br><br>As for the four outputs, you can set the heads to independent speakers, which I did here: <a href="http://uk.youtube.com/watch?v=gy-SVV8b3QI">http://uk.youtube.com/watch?v=gy-SVV8b3QI</a> <br>
<br><br><div class="gmail_quote">2008/12/29 van Sinn <span dir="ltr">&lt;<a href="mailto:vansinn@post.cybercity.dk">vansinn@post.cybercity.dk</a>&gt;</span><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div class="Ih2E3d">radio radio wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I have 2 questions for anyone with experience with the headrush:<br>
<br>
(1) hiss? I&#39;ve read some reviews that the hiss can be bad. My setup is mildly prone to hiss as is (and I typically take things out because hiss does bother me). <br>
</blockquote>
<br></div>
Can&#39;t comment on the hiss, as I don&#39;t have one ;)<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
(2) the 4 output function...<br>
</blockquote>
<br>
If no cables are inserted into those outs, all four echo taps (i.e. like tape echo heads) are mixed onto the combined out.<br>
Cables inserted into one or more of the head outs will carry that head tap, and it will be removed form the mix out.<br>
This also means you can just insert a dummy jack into a head out to remove it from the mix.<br>
In the mix out you could then have i.e. 1, 2, no-3, 4.<br>
<br>
The &#39;manual&#39; is downloadable from <a href="http://akaipro.com" target="_blank">akaipro.com</a> (maybe <a href="http://akai-pro.com" target="_blank">akai-pro.com</a>).<br>
<br>
-- <br>
rgds,<br><font color="#888888">
van Sinn<br>
<br>
</font></blockquote></div><br><br clear="all"><br>-- <br>Kayla&#39;s website: <a href="http://www.kaylakavanagh.com">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh">http://www.myspace.com/kaylakavanagh</a><br>
FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk">http://www.kaleidoscope-design.co.uk</a><br>


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References: <36406.1230563919@theclaypools.com>
Subject: Re: What does it mean to you, to "release a record"?
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Nice suff on myspace Loren, I love that "genre-indifferent instrumental =
guitar music", good description.

Jeff
  ----- Original Message -----=20
  From: Loren Claypool=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 29, 2008 10:18 AM
  Subject: Re: What does it mean to you, to "release a record"?


  I approach the business of my music with the same focus as I would =
take with any other business venture - short of altering the artistic =
vision in any way. Certainly my own work is far from mainstream and I'll =
continue to follow my muse. But beyond that, to me, a business is a =
business with the discipline of a business plan, including all of the =
legal aspects, marketing plans, etc., not drudgery at all, but a fun and =
intellectually stimulating activity in its own right.

  Per hit on several good points. I'd also add it's important to have a =
strategy for a website and social network outposts. Follow chrisbrogan =
at twitter for an ongoing course and thought provoking tips on social =
media for business. It's fascinating and applicable to our music =
efforts. Certainly it takes time and energy, but also has allowed me to =
connect with people who otherwise would not know of my work.

  Re: CD vs. digital, I considered going all download for my upcoming =
release. To gather some market data I did a survey of the folks on my =
mailing list, many of whom had bought my album "One Feather Shy", which =
was released in August, 2008, some the CD and some the download. One of =
the questions was "In what format do you prefer to buy music?" with =
options of CD, digital download, vinyl, and other. The results floored =
me with 69% saying CD! From follow up conversations I determined that =
folks who are interested in buying non-mainstream music tend to want the =
physical artifact with the artwork, liner notes, etc. One comment was =
"download for normal stuff, CDs for special stuff." My decision on the =
next project is to press the CD and make the download available through =
services like iTunes, Amazon, and CD Baby, same as I did on "One Feather =
Shy". I announced the new project this weekend. It's called "Breathe", =
more about that at http://ping.fm/CCe0W.

  The concept of delivering songs one-at-a-time is fascinating and =
something I'll continue to ponder. At this point I'm more project =
focused, but I'm intrigued by the idea of deliverying a steady diet of =
material in smaller pieces. I am interested in how folks are doing this =
with non-mainstream material in a pay-for environment.

  Loren Claypool=20
  genre-indifferent instrumental guitar music=20
  www.lorenclaypool.com=20
  www.myspace.com/lorenclaypool=20



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



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<DIV><FONT face=3DArial size=3D2>Nice suff on myspace Loren, I love that =

"genre-indifferent instrumental guitar music", good =
description.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Jeff</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=3Dlooper@theclaypools.com =
href=3D"mailto:looper@theclaypools.com">Loren=20
  Claypool</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, December 29, 2008 =
10:18=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: What does it mean =
to you, to=20
  "release a record"?</DIV>
  <DIV><BR></DIV>
  <P>I approach the business of&nbsp;my music&nbsp;with the same focus =
as&nbsp;I=20
  would take with any other business venture - short of altering the =
artistic=20
  vision in any way. Certainly my own work is far from mainstream and =
I'll=20
  continue to follow my muse. But beyond that, to me,&nbsp;a =
business&nbsp;is a=20
  business with the discipline of a business plan, including all of the =
legal=20
  aspects, marketing plans, etc., not&nbsp;drudgery at all, but a fun =
and=20
  intellectually stimulating activity in its own right.</P>
  <P>Per hit on several good points. I'd also add it's important to have =
a=20
  strategy for a website and social network outposts. Follow chrisbrogan =
at=20
  twitter for an ongoing course and thought provoking tips on social =
media for=20
  business. It's fascinating and applicable to our music efforts. =
Certainly it=20
  takes time and energy, but also has allowed me to connect with people =
who=20
  otherwise would not know of my work.</P>
  <P>Re: CD vs. digital, I considered going all download for my upcoming =

  release. To gather some market data I did a survey of the =
folks&nbsp;on my=20
  mailing list, many of whom had bought my&nbsp;album&nbsp;"One Feather =
Shy",=20
  which was released in August, 2008, some the CD and some the download. =
One of=20
  the questions was "In what format do you prefer to buy music?" with =
options of=20
  CD, digital download, vinyl, and other. The results floored me with =
69% saying=20
  CD! From follow up conversations I determined that folks who are =
interested in=20
  buying non-mainstream music tend to want the physical artifact with =
the=20
  artwork, liner notes, etc. One comment was "download for normal stuff, =
CDs for=20
  special stuff." My decision on the next project is to press the CD and =
make=20
  the download available through services like iTunes, Amazon, and CD =
Baby, same=20
  as I did on "One Feather Shy". I announced the new project this =
weekend. It's=20
  called "Breathe", more about that at <A=20
  href=3D"http://ping.fm/CCe0W">http://ping.fm/CCe0W</A>.</P>
  <P>The concept of delivering songs one-at-a-time is fascinating and =
something=20
  I'll continue to ponder. At this point I'm more project focused, but =
I'm=20
  intrigued by the idea of deliverying a steady diet of material in =
smaller=20
  pieces. I am interested in how folks are doing this with =
non-mainstream=20
  material in a pay-for environment.</P>
  <P>Loren Claypool <BR>genre-indifferent instrumental guitar music=20
  <BR>www.lorenclaypool.com <BR>www.myspace.com/lorenclaypool </P>
  <P>
  <HR>

  <P></P><BR>No virus found in this incoming message.<BR>Checked by AVG =
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: What does it mean to you, to "release a record"?
Date: Mon, 29 Dec 2008 10:15:59 -0800
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Howdy,

In the digital age that's a good question.

The last time I actually tried releasing something of my own it was in=20=

2001 and the label I was on supplied me with a fairly well weeded out=20
mailing list of publications, radio stations and reviewers to mail it=20
to.

I guess you you could call that DIY "old school" marketing method.

I mailed out about hundreds of CDs with:
	A well-written "press release" suitable for publication =
directly.
	A concise "artistic bio" including a performance history and any=20=

awards won. contact info.
	A current photo of myself with my instrument.
	A sheet with some other other "press quotes".
	A professionally produced and mastered CD.
	A small "special note" (larger than a business card or post-it =
note=20
but smaller than a full sheet) on bright colored paper with clear=20
printed contact information and a request to "PLEASE LET US KNOW IF YOU=20=

NO LONGER WISH TO RECEIVE MATERIALS FROM THIS LABEL."

That last thing, although it seems unimportant, is helpful for both the=20=

label and the recipient to keep the mailing list effective.

I still think the concept of an "album" is useful.

I think of it sort of as I think of the chapters in a book - marking=20
the beginning and end of a portion of the story . . . so far.

Frankly I have not done another "solo" CD since then - only the=20
occasional collaboration with others.

I feel like I am still "between chapters" so to speak personally.

If you send out something like a press packet, as I did, expect only a=20=

very modest return.

These people are slammed for time and cannot possibly look at and=20
listen to everything.

Therefore, try to think of something that will make your CD stand out=20
from the rest (just a little).

It could be something graphical that you have on the package, or=20
something about the package itself.

The style of packaging suggested by the label my CD came out on was=20
that the CD itself should be tied with twine or string (or something)=20
instead of shrink-wrapped, to make it just a little unusual.

A non-jewelcased product was easier and cheaper to post as well.

Best regards,

tEd =AE KiLLiAn

Creativity represents a miraculous coming together of the uninhibited=20
energy of the child with its apparent opposite and enemy, the sense of=20=

order imposed on the disciplined adult intelligence. =96 Norman =
Podhoretz

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes
On Dec 28, 2008, at 9:39 PM, George Ludwig wrote:

> In the digital age, what is your standard procedure, as an independent=20=

> artist, to =93release an album=94? Where do you send it for review? =
What=20
> kind of promo kit do you put together? Do you bother having it=20
> physically duplicated? Etc?
> =A0
> It=92s been over ten years since I released a record for myself, and a=20=

> lot has changed. I feel a bit like a dinosaur. And 2009 looks like I'm=20=

> going to have several discs to put out!
> =A0
> -George
>

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 18:19:31 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: What does it mean to you, to "release a record"?
Date: Mon, 29 Dec 2008 10:19:29 -0800
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Loren,

I concur.

I've been listening to whatever it is playing on your myspace page and=20=

have been enjoying it.

Nice.

Ted
Best regards,

tEd =AE KiLLiAn

Only two things are infinite, the universe and human stupidity, and I'm=20=

not sure about the former. =96 Albert Einstein (1879 - 1955)

http://www.myspace.com/tedkillian
http://www.reverbnation.com/tedkillian
http://www.pfmentum.com/PFMCD007.html
http://www.CDbaby.com/cd/tedkillian
http://www.guitar9.com/fluxaeterna.html
http://www.indiejazz.com/ProductDetailsView.aspx?ProductID=3D193
http://guitarplayer.com/article/y2k6-international-live/Jun-07/27768

Ted Killian's "Flux Aeterna" is also available at Apple iTunes

On Dec 29, 2008, at 10:13 AM, Jeff Duke wrote:

> Nice suff on myspace Loren, I love that "genre-indifferent=20
> instrumental guitar music", good description.
> =A0
> Jeff
> ----- Original Message -----
> From:  Loren Claypool
> To: Loopers-Delight@loopers-delight.com
> Sent: Monday, December 29, 2008 10:18 AM
> Subject: Re: What does it mean to you, to "release a record"?
>
>
> I approach the business of=A0my music=A0with the same focus as=A0I =
would=20
> take with any other business venture - short of altering the artistic=20=

> vision in any way. Certainly my own work is far from mainstream and=20
> I'll continue to follow my muse. But beyond that, to me,=A0a =
business=A0is=20
> a business with the discipline of a business plan, including all of=20
> the legal aspects, marketing plans, etc., not=A0drudgery at all, but a=20=

> fun and intellectually stimulating activity in its own right.
>
> Per hit on several good points. I'd also add it's important to have a=20=

> strategy for a website and social network outposts. Follow chrisbrogan=20=

> at twitter for an ongoing course and thought provoking tips on social=20=

> media for business. It's fascinating and applicable to our music=20
> efforts. Certainly it takes time and energy, but also has allowed me=20=

> to connect with people who otherwise would not know of my work.
>
> Re: CD vs. digital, I considered going all download for my upcoming=20
> release. To gather some market data I did a survey of the folks=A0on =
my=20
> mailing list, many of whom had bought my=A0album=A0"One Feather Shy",=20=

> which was released in August, 2008, some the CD and some the download.=20=

> One of the questions was "In what format do you prefer to buy music?"=20=

> with options of CD, digital download, vinyl, and other. The results=20
> floored me with 69% saying CD! =46rom follow up conversations I=20
> determined that folks who are interested in buying non-mainstream=20
> music tend to want the physical artifact with the artwork, liner=20
> notes, etc. One comment was "download for normal stuff, CDs for=20
> special stuff." My decision on the next project is to press the CD and=20=

> make the download available through services like iTunes, Amazon, and=20=

> CD Baby, same as I did on "One Feather Shy". I announced the new=20
> project this weekend. It's called "Breathe", more about that at=20
> http://ping.fm/CCe0W.
>
> The concept of delivering songs one-at-a-time is fascinating and=20
> something I'll continue to ponder. At this point I'm more project=20
> focused, but I'm intrigued by the idea of deliverying a steady diet of=20=

> material in smaller pieces. I am interested in how folks are doing=20
> this with non-mainstream material in a pay-for environment.
>
> Loren Claypool
> genre-indifferent instrumental guitar music
> www.lorenclaypool.com
> www.myspace.com/lorenclaypool
>
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.10.1/1867 - Release Date:=20
> 12/28/2008 2:23 PM

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 18:22:38 2008
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: 2 questions about akai headrush E2
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Kayla Kavanagh wrote:
> I use one regularly, and have never noticed any hiss at all!
> As for the four outputs, you can set the heads to independent 
> speakers, which I did here: http://uk.youtube.com/watch?v=gy-SVV8b3QI 
Very nice!

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 18:55:58 2008
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From: "William Walker" <billwalker@baymoon.com>
To: <Loopers-Delight@loopers-delight.com>
Subject: Erdem
Date: Mon, 29 Dec 2008 10:55:53 -0800
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Congratulations Erdem!

 Hope all is well

 bill

 


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<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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Erdem!<o:p></o:p></span></font></p>

<p class=3DMsoNormal><font size=3D2 color=3Dnavy face=3DArial><span =
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From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 18:59:17 2008
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Ah, yes, the old Yamaha synths. My first synth was a Yamaha DX-21. Some one=
 commented on one of the bass sounds onboard as to its being excellent. I t=
hink I remember that sound (or one similar) - I always used the DX-21 for i=
ts bass sounds.
=A0
I had an FB-01 as well and a TX-81Z. The third party sounds for the TX-81Z =
were done pretty darn good for its time (on cassette!). I was just looking =
at a used FB-01 at a local music store for $49.00 and was tempted to buy it=
 so I could travel down the nostalgia path for a while.
=A0
I still have a Yamaha TG-33 that I haven't turned on for a while. Hope it d=
oesn't start smoking when I do ( like a Casio DAT recorder I have)!

Regards, Paul
--- On Wed, 12/24/08, Richard Roberts <zeroohms@basicisp.net> wrote:

From: Richard Roberts <zeroohms@basicisp.net>
Subject: Re: yamaha vintage synths
To: Loopers-Delight@loopers-delight.com
Date: Wednesday, December 24, 2008, 10:29 AM


Okay, I'll confess. I still have - and occasionally record with - an old TX=
-81Z. I actually got pretty good at programming it despite the limitations =
of the four-operator system. But sometimes, late at night, after working wi=
th it a long time, I could swear every sound it makes sounds like a distort=
ed koto.



Richard Roberts
ZERO OHMS


"We are no longer the same after hearing certain sounds, and this is more t=
he case when we hear organized sounds, sounds organized by another human be=
ing: music."=A0=A0
- Karlheinz Stockhausen


"If I should ever die, God forbid, let this be my epitaph:=A0THE ONLY PROOF=
 HE NEEDED=A0FOR THE EXISTENCE OF GOD=A0WAS MUSIC."
- Kurt=A0Vonnegut, Jr.=A0





=0A=0A=0A      
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<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>Ah, yes, the old Yamaha synths. My first synth was a Yamaha DX-21. Some one commented on one of the bass sounds onboard as to its being excellent. I think I remember that sound (or one similar) - I always used the DX-21 for its bass sounds.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I had an FB-01 as well and a TX-81Z. The third party sounds for the TX-81Z were done pretty darn good for its time (on cassette!). I was just looking at a used FB-01 at a local music store for $49.00 and was tempted to buy it so I could travel down the nostalgia path for a while.</DIV>
<DIV>&nbsp;</DIV>
<DIV>I still have a Yamaha TG-33 that I haven't turned on for a while. Hope it doesn't start smoking when I do ( like a Casio DAT recorder I have)!<BR></DIV>
<DIV>Regards, Paul<BR>--- On <B>Wed, 12/24/08, Richard Roberts <I>&lt;zeroohms@basicisp.net&gt;</I></B> wrote:<BR></DIV>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid">From: Richard Roberts &lt;zeroohms@basicisp.net&gt;<BR>Subject: Re: yamaha vintage synths<BR>To: Loopers-Delight@loopers-delight.com<BR>Date: Wednesday, December 24, 2008, 10:29 AM<BR><BR>
<DIV id=yiv734047422>Okay, I'll confess. I still have - and occasionally record with - an old TX-81Z. I actually got pretty good at programming it despite the limitations of the four-operator system. But sometimes, late at night, after working with it a long time, I could swear every sound it makes sounds like a distorted koto.
<DIV><BR>
<DIV><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2"><SPAN class=Apple-style-span style="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; orphans: 2; widows: 2">
<DIV>Richard Roberts</DIV>
<DIV>ZERO OHMS</DIV>
<DIV><BR class=khtml-block-placeholder></DIV>
<DIV style="MARGIN: 0px"><FONT class=Apple-style-span size=2><SPAN class=Apple-style-span style="FONT-SIZE: 10px"><I style="FONT-SIZE: 10px; FONT-STYLE: italic"><SPAN class=Apple-style-span style="FONT-SIZE: 10px; FONT-STYLE: italic">"We are no longer the same after hearing certain sounds, and this is more the case when we hear organized sounds, sounds organized by another human being: music."&nbsp;&nbsp;</SPAN></I></SPAN></FONT></DIV>
<DIV style="MARGIN: 0px"><FONT class=Apple-style-span size=2><SPAN class=Apple-style-span style="FONT-SIZE: 10px"><I style="FONT-SIZE: 10px; FONT-STYLE: italic"><SPAN class=Apple-style-span style="FONT-SIZE: 10px; FONT-STYLE: italic">- Karlheinz Stockhausen</SPAN></I></SPAN></FONT></DIV>
<DIV style="MARGIN: 0px"><FONT class=Apple-style-span size=2><SPAN class=Apple-style-span style="FONT-SIZE: 10px"><I style="FONT-SIZE: 10px; FONT-STYLE: italic"><BR class=khtml-block-placeholder></I></SPAN></FONT></DIV>
<P style="MARGIN: 0px 0px 1px"><FONT class=Apple-style-span size=2><SPAN class=Apple-style-span style="FONT-SIZE: 10px"><I style="FONT-SIZE: 10px; FONT-STYLE: italic"><SPAN class=Apple-style-span style="FONT-SIZE: 10px; FONT-STYLE: italic">"If I should ever die, God forbid, let this be my epitaph:&nbsp;THE ONLY PROOF HE NEEDED&nbsp;FOR THE EXISTENCE OF GOD&nbsp;WAS MUSIC."</SPAN></I></SPAN></FONT></DIV>
<P style="MARGIN: 0px 0px 1px"><FONT class=Apple-style-span size=2><SPAN class=Apple-style-span style="FONT-SIZE: 10px"><I style="FONT-SIZE: 10px; FONT-STYLE: italic"><SPAN class=Apple-style-span style="FONT-SIZE: 10px; FONT-STYLE: italic">- Kurt&nbsp;Vonnegut, Jr.&nbsp;</SPAN></I></SPAN></FONT></DIV>
<DIV><BR class=khtml-block-placeholder></DIV>
<DIV><BR class=khtml-block-placeholder></DIV><BR class=Apple-interchange-newline></SPAN></SPAN></DIV><BR></DIV></DIV></BLOCKQUOTE></td></tr></table><br>

      
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From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 20:02:13 2008
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Subject: re:What does it mean to you, to "release a record"?
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About releasing digital releases of your music,  
Per Boysen wrote:

"IMHO this digital age also means that you should be even more careful, 
than in the old days, to only release the top quality of your work. 
The reason for this view is that with digital distribution there is no 
limited issue that will sell out at some point in the future, as with 
physical media like CD, vinyl and DVDs. Digital releases will stay 
available for ever. A smaller quantity of music is just as easy to 
find in search- and recommendation engines as a huge artist catalog. 
This also may makes it more relevant to talk about "launching" than 
"releasing". "

I see your point,  Per.   It's well thought out and I respect it,  but I have a slightly different perspective 
to share.

Sometimes the fact that an artist is very prolific (if they back it up with quality of course) 
can be a very attractive attribute.  It can tell us something  about their artistry.

I think of an artist like Robert Pollard of Guided By Voices fame.   He releases 2 to 3 releases every 
year and has for decades.      Because of the quality of his work,  he has hard core fans who snap up 
everything he releases and older physical versions of his records (especially in collectable forms like 
colored vinyl or accompanying artwork----he's a really excellent collage artist)  fetch really high 
prices.   Arguably because he is not a mass acceptance style of artist,  it could be argued that he can 
make a living with his artistry ONLY because he is prolific.    If , like most artists, he releases a record 
every couple of years or so,   he probably wouldn't be able to make a living doing what he's doing.

I think about someone like our own Erdem Helvacioglu, who is ridiculously and excitingly  ambitious 
and in the process of making records with a very large number of people in different genres, 
seemingly simultaneously.    His ambition 
alone will really serves his reputation,  I think.    I , myself, think,  "wow,  what's he going to do next?
.........it puts him on my own artistic radar precisely because he is prolific.

I, myself,  really want to express myself in many different ways: as a live looping/found sound artist,   
a toy video 'animator', an acoustic singer/songwriter (that's coming up in the future he says, 
gulping!), a goth/industrial pop artist,  an noise/experimental artist,  a world ethnic fusion artist and 
a jazz artist so in order dto express myself,  I have to be prolific as an artist.

In my own case,  I don't know whether this hurts me in terms of ultimate number of sales (the 
diversity and number of releases)  but it brings up another salient point:

In my own career,   being prolific both in terms of creating new venues ,  associating myself with 
different styles of music that I love,  putting out releases, et. al.   has helped my career and my 
reputation to the point that people will frequently hire me to do concerts, lectures, seminars, 
productions, commissions for modern dance and video/films, collaborate, etc., etc.

In this way,  being prolific really helps me out,  even if I don't have high record sales.


*******
A great visual artist once said something to the effect that 
"being prolific as an artist is an act of spiritual generosity'

To me,  just putting out a high volume of work (if your hearts really deeply into it) 
sometimes is an end unto itself and the fact that we put it out to the world,  is 
a form of generosity.

There also is the smaller phenomenon that occasionally people want to support an artist just because 
they admire them or because they actually want a high quality audio or visual experience 
that transcends the downloadable MP3 world that is our present dominant paradigm.

One of the ways of getting people's attention is by being prolific, artistically.
It's not, of course, the only way,  but it is A way.



From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 20:26:14 2008
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Subject: Re: What does it mean to you, to "release a record"?
Date: Mon, 29 Dec 2008 13:26:10 -0700
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I produce a physical CD (through Kunaki.com), send it to CD Baby so that I 
can get it digitally distributed, post the CD info on my various websites, 
and then send an announcement to all my friends, collegues, and music 
distribution lists. That's it.  I don't do any promotion other than this, 
and I don't really care about reviews or whether I sell CDs.  I mainly 
create CDs for two reasons: 1) to document my work in physical format (that 
physical record of my work, as a stand alone item is important to me), and 
2) so that I can give CDs away, or sell them at performances.  All this 
aside, I continue to sell CDs from Kunaki, CD Baby, at performances, and via 
CD Baby's digital distribution. Not thousands of dollars a year, of course, 
but a few hundred, based on virtually no effort.

Kris
www.krispenhartung.com


----- Original Message ----- 



In the digital age, what is your standard procedure, as an independent 
artist, to “release an album�? Where do you send it for review? What kind of 
promo kit do you put together? Do you bother having it physically 
duplicated? Etc?

It’s been over ten years since I released a record for myself, and a lot has 
changed. I feel a bit like a dinosaur. And 2009 looks like I'm going to have 
several discs to put out!

-George






From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 20:29:17 2008
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From: "Emile Tobenfeld (a.k.a Dr. T)" <emile@foryourhead.com>
Subject: Video + Baroque + Improv + Poetry  01.02.09 @Outpost Cambridge, MA
To: DrTVideo@egroups.com
Cc: eyecandy@egroups.com, boss-improv@topica.com, iotacenter@egroups.com,
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Hi folks,

This is a rescheduling of the Dec 19 show that was cancelled because of snow.

I'm performing Friday at an event that is usual and eclectic even by 
my own standards. My shows with Todd and John have all been 
mind-expanding, and I'm looking forward to seeing what the baroque 
element adds to the mix.

Friday, January 2 @ Outpost 8:00 $5/10

"The Vortex Other Dimension Ensemble"

Timothy Macri - flute
Harris Shilakowsky - violin and electronics
Todd Brunel - clarinets
Glenn Dickson - clarinet and electronics
Emile Tobenfeld - visual poetics
John Mulrooney - spoken word

This special evening of interactive multi media will feature a
transcription for solo flute of the JS Bach Tocatta and fugue in D,
an adaptation of the Corelli Christmas Concerto, the JS Bach Chromatic
Fantasy and solo clarinet microtonal improvisations.

OUTPOST: 186 1/2 Hampshire St., Inman Sq. Cambridge - All Ages

OUTPOST DIRECTIONS: Near cr. Prospect, opposite Hess gas, behind 
7-11. Big '186' on R side. Follow walk at Left to gallery, REAR

-- 
My photography can be viewed at 
http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/

My videos can be viewed at
http://www.youtube.com/Tobenfeld

		Emile Tobenfeld, Ph. D.
Video Producer			Image Processing Specialist
Video for your HEAD!			Boris FX
http://www.foryourhead.com		http://www.borisfx.com

" Practice makes perfect, imperfect is better."  -- Paul Bley

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 20:35:04 2008
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On Mon, Dec 29, 2008 at 9:00 PM, Rick Walker <looppool@cruzio.com> wrote:
> I see your point,  Per.   It's well thought out and I respect it,  but I have a slightly different perspective
> to share.
////////////////////////////////
> In this way,  being prolific really helps me out,  even if I don't have high record sales.


I can't see that your perspective is much different than mine! Even
while being prolific your main outlet is still serving The Branding Of
Rick Walker process - another good example of what I was talking
about. I was saying that it's essential to share good stuff but I
didn't mean that it is bad for you to share more good stuff ;-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 20:44:07 2008
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I agree with you Rick... Nowadays many of us are doing extremely
varied musics, and  I think it can be helpful to give each style you
do a different er... pigeonhole.
The closest I came recently to getting a new deal was for a CD I
recorded.. damn its 6 years ago now, called the Last Vestiges of
Taste. It got great reactions from the people manager (at the time)
played it to, and some weird connections (Dave Stewart loved it, Nina
Hagen loved it, and weirdest of all Boy George loved it!!! He even
inviting me backstage at a London show of his ... I didnt go...
make-up wearing Junkie.. ha ha) THE MAIN CRITICISM I got for it was...
"its too diverse!" Like THATS an insult!!!

I pretty much gave up after that, it was a lot of work doing the
marketing and sending it around and nothing came of it.

Since leaving the industry 10 years ago, the music business has
changed so much for me that I find it difficult now to know what one
is supposed to do. I for one am prepared to stand up and admit that
nowadays I am selling exactly NO records... despite having a
reasonable distribution for my CD=B4s thru an underground network here
in Norway (Looop - purely coincidentally named), a few things on
iTunes, a website (ok a crap website - after looking at
www.lorenclaypool.com fuck Loren.... NICE site!!! )
Well I DO know what I could do, and Per has laid it out so correctly
in his post, as do others...
I have read Kris=B4s recommendations of CD Baby for a while, and been
impressed, I am only releasing burned to order CDR=B4s tho so last time
I looked it was a problem... maybe not now... whats this Kunaki.com
thing.. gonna check after this... see Im so outta touch...

BUT as for concentrating on one perfect thing... well not in the area
that I am mostly listening.. as in noise.

My good friend Lasse Marhaug releases between 5 and 10 albums a year
with different people, and Merzbow has so many albums one could NEVER
collect them all (Im currently half way through a MEGA 11gb torrent
download of his stuff, half the torrent is ONE release.. Merzbox,
comes as 50 CD=B4s in a leather case). There is NO doubt in my mind that
given the type of music, that hyper overload of releases is really the
only way one can make a living in that genre. Im sure that every
record company Lasse releases on is sending out limited releases of
100 or so copies or less. The hardcore fans buy what they find, but
that is still the tip of the iceberg. Lasse meanwhile is a non
drinking workaholic who spends more of the year away doing shows than
at home, so his girlfriend moans to me.. ha ha

m

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 21:20:47 2008
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Yes,  I third that sentiment, Loren.....................really nice 
stuff at your MySpace
page.      Love those interlocking odd time signatures and the sounds 
you are getting
on your guitars are really beautiful and 
meaty......................................meaty?       yeah    meaty!!!!

yours,  Rick Walker

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Oh yeah, Fight or Flight G4, is that in New Standard Tuning? I see your a 
Guitar Craft guy. I do love that sound. CGT blew me away when I saw them in 
Atlanta.

Jeff

----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Monday, December 29, 2008 4:20 PM
Subject: Re: What does it mean to you, to "release a record"?


> Yes,  I third that sentiment, Loren.....................really nice
> stuff at your MySpace
> page.      Love those interlocking odd time signatures and the sounds
> you are getting
> on your guitars are really beautiful and
> meaty......................................meaty?       yeah    meaty!!!!
>
> yours,  Rick Walker
>


--------------------------------------------------------------------------------



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Subject: Re: OT Egberto Gismonti
Date: Mon, 29 Dec 2008 19:12:43 -0300
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On 27 Dec 2008, at 23:04, Marc Marshall wrote:
>
> wow, never heard of criticism of low pitched strings sounded bad.

oh, ask anyone who builds instruments. there is a fundamental  
resonance which depends on the instrument size and below that, the box  
does not amplify the string any more (load speakers have a similar  
problem)
so if you tune the string below that resonance, its fundamental almost  
disappears.

> hey man to each his own!!

sure, I am not saying its not possible to make music without the  
fundamentals :-)

> I would argue that just because YOU may not like his sound does not  
> mean
> that HE doesn't care about sound.

thats also true. thats why I said "I feel..." :-)
and its not just due to the guitar, but also the way he used synth...

and he is not the only one, lots of excellent musicians think of sound  
as a minor factor, or even love lofi
every musician sets different priorities and has different talents with:
rhythm
melody
harmony
phrasing
sound
public relation
visual
,,,
and I am clearly a sound and phrasing guy

I even criticize some famous classical cello sonatas because the  
virtuoso composition does not leave time for the single notes to  
develop :-)

> You are of course free to not like it.
> I dare to say you would never stand to listen to Sonic Youth or Glen  
> Branca or the whole guitar tuned to just one note thing.

sorry, I never tried to listen to those artists... when my internet is  
back, I will try!
Matthias

>
>
> thanks for being candid and allowing me the same, sir!!   :-)
>
>
>
> --- On Sat, 12/27/08, Matthias Grob <matilists@atarde.com.br> wrote:
> BORDER-LEFT: rgb(16,16,255) 2px solid">From: Matthias Grob <matilists@atarde.com.br 
> >
> Subject: OT Egberto Gismonti
> To: "Loop List" <Loopers-Delight@loopers-delight.com>
> Date: Saturday, December 27, 2008, 8:53 PM
>
> yes, I visited him once in Rio
> and saw several shows
> he also plays piano marvelously
> and he has an interesting experience with indios
> but he is a bit isolated...
> and the thing with the very low pitched guitar strings does not  
> sound good to my ears
> in general I feel he creates fantastic music but does not care much  
> about sound
>
> listen also to his friend Carioca http://www.myspace.com/ronaldofreitas 
>   !
>
>
> On 27 Dec 2008, at 17:51, Marc Marshall wrote:
>
>>
>> Speaking of slow acoustic guitar players, anybody hip to Egberto  
>> Gismonti?
>> he can really play slow and beautiful and then blaze away as well
>> he played an 8 string guitar in 1975!!
>>
>> HIs early ECM stuff is wonderful      Dancas das Cabasas (or  
>> something like that!) LOL   is a good place to start.
>>
>>
>> --- On Sat, 12/27/08, Jeff D <jeff_d@embarqmail.com> wrote:
>> From: Jeff D <jeff_d@embarqmail.com>
>> Subject: Re: Fahey
>> To: Loopers-Delight@loopers-delight.com
>> Date: Saturday, December 27, 2008, 3:41 PM
>>
>> This looks cool, I can hardly wait!
>>
>> http://www.youtube.com/watch?v=_McoM_aflyg
>>
>> j

From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 22:35:01 2008
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Date: Mon, 29 Dec 2008 16:35:00 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: New Album "Wounded Breath"
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Erdem,

Congratulations and best wishes for the release of your new album!

-- Kevin

Quoting Erdem Helvacioglu <erdemhel@tnn.net>:

> Hi to all,
>
> I am very happy to tell you that my new album "Wounded Breath" has  =20
> been released in USA by Aucourant Records!
>
> Here is the link for the album page :
>
> http://www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23
>
> Here you can listen to mp3s of all the tracks on the album.
>
> The album includes 5 of my prizewinning electroacoustic pieces which =20
>  I have performed at prestigious contemporary festivals all around  =20
> the world along with composers such as Paul Lansky, Morton Subotnick =20
>  etc.
>
> The album will be on amazon, itunes, emusic in a  few weeks. If you  =20
> are interested, it is cheaper to buy directly from the label by the  =20
> way.
>
> Thanks a lot and best regards. Hope you will enjoy the music!
>
> Erdem Helvacioglu
> www.erdemhelvacioglu.com
> www.myspace.com/erdemhelvacioglu
> * * * * * * * * * * * * * * * * * * * *
> "Wounded Breath" album is out now on Aucourant Records:
> www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23
>



From Loopers-Delight-request@loopers-delight.com  Mon Dec 29 23:49:06 2008
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Date: Mon, 29 Dec 2008 15:49:05 -0800 (PST)
From: Marc Marshall <agentlesoul2004@yahoo.com>
Subject: Re: OT Egberto Gismonti
To: Loopers-Delight@loopers-delight.com
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--0-111648578-1230594545=:7252
Content-Type: text/plain; charset=iso-8859-1
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okay, I am not a guitar builder but I know enough about bass and sound to b=
e dangerous!! LOL=A0 In particular bass in acoustic guitars can be very har=
d to reproduce cleanly especially if you like altered tunings and their cap=
acity for low end bass resonance with clashing notes, which is just one of =
the reasons why many manufacturers are making the older style parlor guitar=
s and other smaller sizes again.=A0 Many players are using them because the=
 bass is much cleaner and tighter than in say a typical dreadnought. Less f=
undamental to the sound? maybe, of course walking around a room or moving a=
 mike has a HUGE effect on the sound of acoustics. Egberto, using 8 and 10 =
string guitars and various tunings knows all about what happens when you st=
art adding the beautiful dissonances of unusual notes being played together=
. And with his longevity of playing and probable reasonable funding, I am s=
ure he knows EXACTLY what he wants in a guitar and he can buy/play any
 guitar he wants.
=A0
or maybe not, what the hell do I know, I vote for the Green Party every tim=
e!!=A0 LOL

Marc Marshall
=A0
=A0
If you have no=A0other better thing to do with=20
your time feel=A0free to=A0visit my website sans blog
=A0
=A0=A0=A0 http://www.myspace.com/atripthroughthestars

--- On Mon, 12/29/08, Matthias Grob <matilists@atarde.com.br> wrote:


From: Matthias Grob <matilists@atarde.com.br>
Subject: Re: OT Egberto Gismonti
To: "Loop List" <Loopers-Delight@loopers-delight.com>
Date: Monday, December 29, 2008, 5:12 PM



On 27 Dec 2008, at 23:04, Marc Marshall wrote:
>=20
> wow, never heard of criticism of low pitched strings sounded bad.

oh, ask anyone who builds instruments. there is a fundamental resonance whi=
ch depends on the instrument size and below that, the box does not amplify =
the string any more (load speakers have a similar problem)
so if you tune the string below that resonance, its fundamental almost disa=
ppears.

> hey man to each his own!!

sure, I am not saying its not possible to make music without the fundamenta=
ls :-)

> I would argue that just because YOU may not like his sound does not mean
> that HE doesn't care about sound.

thats also true. thats why I said "I feel..." :-)
and its not just due to the guitar, but also the way he used synth...

and he is not the only one, lots of excellent musicians think of sound as a=
 minor factor, or even love lofi
every musician sets different priorities and has different talents with:
rhythm
melody
harmony
phrasing
sound
public relation
visual
,,,
and I am clearly a sound and phrasing guy

I even criticize some famous classical cello sonatas because the virtuoso c=
omposition does not leave time for the single notes to develop :-)

> You are of course free to not like it.
> I dare to say you would never stand to listen to Sonic Youth or Glen Bran=
ca or the whole guitar tuned to just one note thing.

sorry, I never tried to listen to those artists... when my internet is back=
, I will try!
Matthias

>=20
>=20
> thanks for being candid and allowing me the same, sir!!=A0=A0=A0:-)
>=20
>=20
>=20
> --- On Sat, 12/27/08, Matthias Grob <matilists@atarde.com.br> wrote:
> BORDER-LEFT: rgb(16,16,255) 2px solid">From: Matthias Grob <matilists@ata=
rde.com.br>
> Subject: OT Egberto Gismonti
> To: "Loop List" <Loopers-Delight@loopers-delight.com>
> Date: Saturday, December 27, 2008, 8:53 PM
>=20
> yes, I visited him once in Rio
> and saw several shows
> he also plays piano marvelously
> and he has an interesting experience with indios
> but he is a bit isolated...
> and the thing with the very low pitched guitar strings does not sound goo=
d to my ears
> in general I feel he creates fantastic music but does not care much about=
 sound
>=20
> listen also to his friend Carioca http://www.myspace.com/ronaldofreitas=
=A0 !
>=20
>=20
> On 27 Dec 2008, at 17:51, Marc Marshall wrote:
>=20
>>=20
>> Speaking of slow acoustic guitar players, anybody hip to Egberto Gismont=
i?
>> he can really play slow and beautiful and then blaze away as well
>> he played an 8 string guitar in 1975!!
>>=20
>> HIs early ECM stuff is wonderful=A0 =A0 =A0 Dancas das Cabasas (or somet=
hing like that!) LOL=A0=A0=A0is a good place to start.
>>=20
>>=20
>> --- On Sat, 12/27/08, Jeff D <jeff_d@embarqmail.com> wrote:
>> From: Jeff D <jeff_d@embarqmail.com>
>> Subject: Re: Fahey
>> To: Loopers-Delight@loopers-delight.com
>> Date: Saturday, December 27, 2008, 3:41 PM
>>=20
>> This looks cool, I can hardly wait!
>>=20
>> http://www.youtube.com/watch?v=3D_McoM_aflyg
>>=20
>> j

=0A=0A=0A      
--0-111648578-1230594545=:7252
Content-Type: text/html; charset=us-ascii

<table cellspacing="0" cellpadding="0" border="0" ><tr><td valign="top" style="font: inherit;"><DIV>okay, I am not a guitar builder but I know enough about bass and sound to be dangerous!! LOL&nbsp; In particular bass in acoustic guitars can be very hard to reproduce cleanly especially if you like altered tunings and their capacity for low end bass resonance with clashing notes, which is just one of the reasons why many manufacturers are making the older style parlor guitars and other smaller sizes again.&nbsp; Many players are using them because the bass is much cleaner and tighter than in say a typical dreadnought. Less fundamental to the sound? maybe, of course walking around a room or moving a mike has a HUGE effect on the sound of acoustics. Egberto, using 8 and 10 string guitars and various tunings knows all about what happens when you start adding the beautiful dissonances of unusual notes being played together. And with his longevity of playing
 and probable reasonable funding, I am sure he knows EXACTLY what he wants in a guitar and he can buy/play any guitar he wants.</DIV>
<DIV>&nbsp;</DIV>
<DIV>or maybe not, what the hell do I know, I vote for the Green Party every time!!&nbsp; LOL</DIV>
<DIV><BR><EM><FONT face="Comic Sans MS" color=#4040ff>Marc Marshall</FONT></EM></DIV>
<DIV><EM><FONT face="Comic Sans MS" color=#4040ff></FONT></EM>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV><EM><FONT face="Comic Sans MS" color=#4040ff>If you have no&nbsp;other better thing to do with </FONT></EM></DIV>
<DIV><EM><FONT face="Comic Sans MS" color=#4040ff>your time feel&nbsp;free to&nbsp;visit my website sans blog</FONT></EM></DIV>
<DIV>&nbsp;</DIV>
<DIV>&nbsp;&nbsp;&nbsp; <A href="http://www.myspace.com/atripthroughthestars" target=_blank rel=nofollow>http://www.myspace.com/atripthroughthestars</A></DIV><BR><BR>--- On <B>Mon, 12/29/08, Matthias <SPAN>Grob</SPAN> <I>&lt;matilists@atarde.com.br&gt;</I></B> wrote:<BR>
<BLOCKQUOTE style="PADDING-LEFT: 5px; MARGIN-LEFT: 5px; BORDER-LEFT: rgb(16,16,255) 2px solid"><BR>From: Matthias Grob &lt;matilists@atarde.com.br&gt;<BR>Subject: Re: OT Egberto Gismonti<BR>To: "Loop List" &lt;Loopers-Delight@loopers-delight.com&gt;<BR>Date: Monday, December 29, 2008, 5:12 PM<BR><BR>
<DIV class=plainMail><BR>On 27 Dec 2008, at 23:04, Marc Marshall wrote:<BR>&gt; <BR>&gt; wow, never heard of criticism of low pitched strings sounded bad.<BR><BR>oh, ask anyone who builds instruments. there is a fundamental resonance which depends on the instrument size and below that, the box does not amplify the string any more (load speakers have a similar problem)<BR>so if you tune the string below that resonance, its fundamental almost disappears.<BR><BR>&gt; hey man to each his own!!<BR><BR>sure, I am not saying its not possible to make music without the fundamentals :-)<BR><BR>&gt; I would argue that just because YOU may not like his sound does not mean<BR>&gt; that HE doesn't care about sound.<BR><BR>thats also true. thats why I said "I feel..." :-)<BR>and its not just due to the guitar, but also the way he used synth...<BR><BR>and he is not the only one, lots of excellent musicians think of sound as a minor factor, or even love lofi<BR>every
 musician sets different priorities and has different talents with:<BR>rhythm<BR>melody<BR>harmony<BR>phrasing<BR>sound<BR>public relation<BR>visual<BR>,,,<BR>and I am clearly a sound and phrasing guy<BR><BR>I even criticize some famous classical cello sonatas because the virtuoso composition does not leave time for the single notes to develop :-)<BR><BR>&gt; You are of course free to not like it.<BR>&gt; I dare to say you would never stand to listen to Sonic Youth or Glen Branca or the whole guitar tuned to just one note thing.<BR><BR>sorry, I never tried to listen to those artists... when my internet is back, I will try!<BR>Matthias<BR><BR>&gt; <BR>&gt; <BR>&gt; thanks for being candid and allowing me the same, sir!!&nbsp;&nbsp;&nbsp;:-)<BR>&gt; <BR>&gt; <BR>&gt; <BR>&gt; --- On Sat, 12/27/08, Matthias Grob &lt;<A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=matilists@atarde.com.br"
 ymailto="mailto:matilists@atarde.com.br">matilists@atarde.com.br</A>&gt; wrote:<BR>&gt; BORDER-LEFT: rgb(16,16,255) 2px solid"&gt;From: Matthias Grob &lt;<A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=matilists@atarde.com.br" ymailto="mailto:matilists@atarde.com.br">matilists@atarde.com.br</A>&gt;<BR>&gt; Subject: OT Egberto Gismonti<BR>&gt; To: "Loop List" &lt;<A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=Loopers-Delight@loopers-delight.com" ymailto="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</A>&gt;<BR>&gt; Date: Saturday, December 27, 2008, 8:53 PM<BR>&gt; <BR>&gt; yes, I visited him once in Rio<BR>&gt; and saw several shows<BR>&gt; he also plays piano marvelously<BR>&gt; and he has an interesting experience with indios<BR>&gt; but he is a bit isolated...<BR>&gt; and the thing with the very low pitched guitar strings does not sound good to my ears<BR>&gt; in general I feel he creates fantastic music
 but does not care much about sound<BR>&gt; <BR>&gt; listen also to his friend Carioca <A href="http://www.myspace.com/ronaldofreitas" target=_blank>http://www.myspace.com/ronaldofreitas</A>&nbsp; !<BR>&gt; <BR>&gt; <BR>&gt; On 27 Dec 2008, at 17:51, Marc Marshall wrote:<BR>&gt; <BR>&gt;&gt; <BR>&gt;&gt; Speaking of slow acoustic guitar players, anybody hip to Egberto Gismonti?<BR>&gt;&gt; he can really play slow and beautiful and then blaze away as well<BR>&gt;&gt; he played an 8 string guitar in 1975!!<BR>&gt;&gt; <BR>&gt;&gt; HIs early ECM stuff is wonderful&nbsp; &nbsp; &nbsp; Dancas das Cabasas (or something like that!) LOL&nbsp;&nbsp;&nbsp;is a good place to start.<BR>&gt;&gt; <BR>&gt;&gt; <BR>&gt;&gt; --- On Sat, 12/27/08, Jeff D &lt;<A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=jeff_d@embarqmail.com" ymailto="mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</A>&gt; wrote:<BR>&gt;&gt; From: Jeff D &lt;<A
 href="http://us.mc01g.mail.yahoo.com/mc/compose?to=jeff_d@embarqmail.com" ymailto="mailto:jeff_d@embarqmail.com">jeff_d@embarqmail.com</A>&gt;<BR>&gt;&gt; Subject: Re: Fahey<BR>&gt;&gt; To: <A href="http://us.mc01g.mail.yahoo.com/mc/compose?to=Loopers-Delight@loopers-delight.com" ymailto="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</A><BR>&gt;&gt; Date: Saturday, December 27, 2008, 3:41 PM<BR>&gt;&gt; <BR>&gt;&gt; This looks cool, I can hardly wait!<BR>&gt;&gt; <BR>&gt;&gt; <A href="http://www.youtube.com/watch?v=_McoM_aflyg" target=_blank>http://www.youtube.com/watch?v=_McoM_aflyg</A><BR>&gt;&gt; <BR>&gt;&gt; j<BR><BR></DIV></BLOCKQUOTE></td></tr></table><br>

      
--0-111648578-1230594545=:7252--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 03:00:38 2008
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Jeff, tEd, and Rick,

Thank you for your kind comments re: the pieces at http://www.myspace.com/lorenclaypool 
. I'll take "meaty" any day!

"Good Things, Good People" and "First Light" are from "One Feather  
Shy" while "Road Trip" and "Fight or Flight G4" are demos that didn't  
work for the album but I really wanted to share. The latter two are  
indeed guitar quartets written in New Standard Tuning. Composing in  
that ensemble format is a real treat and works a different musical  
muscle. I find it gratifying work. BTW, "Colchester Turning" on "One  
Feather Shy" was originally written as an NST acoustic quartet but  
morphed it's way into the form that is on the album.

And CGT is a real treat, brilliant musicians and wonderful people. For  
another Guitar Craft treat find an excuse to get to Seattle, if you're  
not already there, and see a performance of Tuning The Air (see http://tuningtheair.com/ 
  and http://www.myspace.com/tuningtheair ) - spectacular stuff.

All the best,

Loren Claypool
genre-indifferent instrumental guitar music
www.lorenclaypool.com and links from there



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Hi,

I bet you don't have to be interested in Numerology 2.0 to find these
texts and videos inspiring! I totally love them, because they describe
the same compositional methods I apply as real-time techniques for
live looping:

Minimalism, ostinato, polyrhythm, isorhythm, counterpoint, canon,
inherent rhythms. Discrete Sequencing referring to fast-picked guitar
parts used by King Crimson in their early-mid 80's albums, such as
Discipline. Other artists referred to are Tangerine Dream, Philip
Glass, John Cage, LaMonte Young, Michael Nyman, Brian Eno, Eric Tamm
and Steve Wonder. Some good book hints as well.

http://www.five12.com/t1.html
http://www.five12.com/t2.html
http://www.five12.com/t3.html
http://www.five12.com/t4.html

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Hi all

Correct me if I'm wrong, but I have the impression that there are artists with different intentions out there:

A: Established artist with no major-label aspirations, making money mostly through gigs & various projects etc => Launch a variety of media to get attention by different people in order to get hired
B: Artist making enough money in his daytime job => artistic expression without compromise, CDs etc mainly as self-expression
C: Young promising acts hoping for a major label deal => Present focused, little material in perfect quality, try to appeal to mass market & draw record label attention

I would presume that most people on this list are category A or B. So I think putting a variety of stuff on the web would make sense for you to promote you as an artist (to be hired) or simply because you enjoy putting out whatever the heck you feel like. :)
Then again, if some young promising artists (category C) really seriously aim for a major label deal, it might be wiser - I guess - similar to Per's initial advice to pay attention on posting only premium-quality stuff on the internet, and also keep the content very focused.

Like, I was approached with an online invitation by a young French band YEFFI. They contacted me based on some playlist preferences. I did like their music, indeed. And I think they have presented themselves very well on the web for their goal: http://www.myspace.com/yeffiband

Anyway, this were just some observations. Again, correct me if I'm wrong. You might know much more about the music industry.

@Mark: how on earth did you miss the chance to meet Boy George?? ;-)  Aah, the good old 80ies...

best regards
Buzap




-- 
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all the best, Erdem!

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From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 10:20:35 2008
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Interesting, Per.
Is this discrete sequencing similar to generative music in Noatikl?

best regards
Buzap


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On Tue, Dec 30, 2008 at 11:12 AM, Buzap Buzap <buzap@gmx.net> wrote:
> Correct me if I'm wrong,


Well, how about adding the category "D: Indie artists." (quite some
list members in this category as well)

Being an indie artist means that you are keeping the rights to your
music and recordings, either by running your own label and publishing
or by collaborating with major labels on a licensing deal basis, with
publishing labels by co-pub deals and work with indipendant
distributors. For an indie artist it may even make more economic sense
to avoid "a major label deal".

Per


> but I have the impression that there are artists with different intentions out there:
>
> A: Established artist with no major-label aspirations, making money mostly through gigs & various projects etc => Launch a variety of media to get attention by different people in order to get hired
> B: Artist making enough money in his daytime job => artistic expression without compromise, CDs etc mainly as self-expression
> C: Young promising acts hoping for a major label deal => Present focused, little material in perfect quality, try to appeal to mass market & draw record label attention
>
> I would presume that most people on this list are category A or B. So I think putting a variety of stuff on the web would make sense for you to promote you as an artist (to be hired) or simply because you enjoy putting out whatever the heck you feel like. :)
> Then again, if some young promising artists (category C) really seriously aim for a major label deal, it might be wiser - I guess - similar to Per's initial advice to pay attention on posting only premium-quality stuff on the internet, and also keep the content very focused.
>

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On Tue, Dec 30, 2008 at 11:20 AM, Buzap Buzap <buzap@gmx.net> wrote:
> Interesting, Per.
> Is this discrete sequencing similar to generative music in Noatikl?


Not really. The definition given on the page goes "instead of using
sequencers that generate MIDI notes, we will use sequencers that
generate sub-components of notes, specifically, pitch intervals and
gate values".

There are more similarities between "sequencing" and "looping". One
example is "Hard-Sync" in a sequencer that does the same thing as
"Realign" in looping. Here's a related quote from the page:


> As described by Eric Tamm in Robert Fripp : from King Crimson to Guitar Craft,
>
>    among the most impressive passages in their music are those where two, three, or all four musicians are playing rapid-fire ostinatos that interlock and counterpoint each other in a glittering pointillistic texture reminiscent of the gamelan orchestras of Indonesia.
>    (p. 139)
>
>    The gamelan-like texture readily lends itself to polymeter -- where the players share a common pulse or beat, but group their beats in measures of different lengths. Such is the premise of the instrumental piece "Discipline", for instance, where beat groupings of two, three, four, five and even seventeen jockey for the baffled listener's attention.
>    (p. 140)


When sequencing in Numerology you can set each sequencer module to
Hard-Sync at any regular time interval; for example every 16th beat.
This opens up for looping sequences at odd lengths as 5 beats or 9
beats and still have the basic time measure grooving in 4/4.

Still there is no (audio) looping device available that,
correspondingly, lets you set a preference to realign the loop at a
regular interval. That would be a cool looper feature (applied to any
of the looper's tracks/channels)!

Per

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Very interesting - Thanks Per

On Dec 30, 2008, at 10:54 AM, Per Boysen wrote:

> Hi,
>
> I bet you don't have to be interested in Numerology 2.0 to find these
> texts and videos inspiring! I totally love them, because they describe
> the same compositional methods I apply as real-time techniques for
> live looping:
>
> Minimalism, ostinato, polyrhythm, isorhythm, counterpoint, canon,
> inherent rhythms. Discrete Sequencing referring to fast-picked guitar
> parts used by King Crimson in their early-mid 80's albums, such as
> Discipline. Other artists referred to are Tangerine Dream, Philip
> Glass, John Cage, LaMonte Young, Michael Nyman, Brian Eno, Eric Tamm
> and Steve Wonder. Some good book hints as well.
>
> http://www.five12.com/t1.html
> http://www.five12.com/t2.html
> http://www.five12.com/t3.html
> http://www.five12.com/t4.html
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>


From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 13:18:35 2008
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From: "Ingo Ito" <ingoito@itofarm.com>
To: <Loopers-Delight@loopers-delight.com>
References: <420499.2197.qm@web50304.mail.re2.yahoo.com>
Subject: Re: What does it mean to you, to "release a record"?
Date: Tue, 30 Dec 2008 14:11:28 +0100
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Hi everybody,

it=C2=B4s interesting to read all the different approaches towards a =
"record-release" these days. In my opinion this variety shows the =
biggest benefit of being independent from the music industry as it was =
in the old days: today everybody can do what he/she likes and either way =
is possible. Like Rick wrote, it=C2=B4s the artist and his/her work that =
is most important. Once the artist has created a piece of art, there are =
multiple choices how to promote and sell this art the way he/she likes.

With my meditation ambient looping project Zen Hanami for example, I go =
in 2 directions: As the music was mainly conceived for yoga lessons or =
meditation courses (with each track being 15:00 minutes), I learned, =
that most Yoga centers do like a physical CD, so I produce a small =
amount of physical CDs (btw thanks Krispen, for the 'Kunaki' link - =
that=C2=B4s very interesting).
But then some people wrote to me that they would prefer shorter tracks =
for just listening. So, I remixed some tracks and made a "normal" album =
with 10 shorter tracks and put that to digital distribution only by CD =
Baby (and thus to i-tunes, Amazon, etc.), which works fine as a =
"modern", non-physical release.

And, like Per said, it=C2=B4s a good thing to have a release available =
for an unlimited time period (unlike the catalogues of the music =
industry). When I had releases with the music industry, I had most of =
the sales in the first 2-4 month and after that a constant drop till the =
album was deleted from their catalogue. Now, with digital releases my =
audience is slowly building up and I do have more downloads of my tracks =
the longer they are available at the download platforms.

What I still miss on the web are sites (or better one "reference"-site =
like Wikipedia) that do reviews of only downloadable music. I have =
contacted many platforms that do reviews, but they all wrote back, that =
they do reviews only for physical CDs - I think that=C2=B4s a bit =
obsolete nowadays.

Ingo Ito


Ingo Ito
website:  www.itofarm.com
myspace:  www.myspace.com/ingoito
blog:  www.itofarm.blogspot.com/
last.fm: www.lastfm.de/music/Ingo+Ito
we7: www.we7.com/public/artistDetails/Ingo-Ito?artistId=3D264
facebook: www.facebook.com/pages/Ingo-Ito/6469662235

Zen Hanami
website: www.zenhanami.com
myspace: www.myspace.com/zenhanami
CD Baby: www.cdbaby.com/cd/zenhanami
Apple i-tunes Store: www.itunes.com/zenhanami
Amazon Download Store: =
www.amazon.com/Reflection-1/dp/B001BIL0NQ/ref=3Dsr_1_10?ie=3DUTF8&s=3Ddmu=
sic&qid=3D1214567210&sr=3D8-10
payplay.fm : www.payplay.fm/zenhanami
last.fm: www.last.fm/music/Zen+Hanami
we7: www.we7.com/public/artistDetails/Zen-Hanami?artistId=3D5434



----- Original Message -----=20
  From: George Ludwig=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Monday, December 29, 2008 6:39 AM
  Subject: What does it mean to you, to "release a record"?


  In the digital age, what is your standard procedure, as an independent =
artist, to =E2=80=9Crelease an album=E2=80=9D? Where do you send it for =
review? What kind of promo kit do you put together? Do you bother having =
it physically duplicated? Etc?

  It=E2=80=99s been over ten years since I released a record for myself, =
and a lot has changed. I feel a bit like a dinosaur. And 2009 looks like =
I'm going to have several discs to put out!

  -George



       =20

------=_NextPart_000_0117_01C96A88.82341E40
Content-Type: text/html;
	charset="utf-8"
Content-Transfer-Encoding: quoted-printable

=EF=BB=BF<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; charset=3Dutf-8">
<META content=3D"MSHTML 6.00.6000.16788" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D4>Hi everybody,</FONT></DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4>it=C2=B4s interesting to read all the =
different=20
approaches towards a "record-release" these days.&nbsp;In my =
opinion&nbsp;this=20
variety shows the biggest benefit of being independent from the music =
industry=20
as it was in the old days: today everybody can do what he/she likes=20
and&nbsp;either way is possible. Like Rick wrote, it=C2=B4s the =
artist&nbsp;and=20
his/her work that is most important. Once the artist has created a piece =
of art,=20
there are multiple choices how to promote and sell this art the way =
he/she=20
likes.</FONT></DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4>With my meditation ambient looping =
project Zen=20
Hanami for example, I go in 2 directions: As the music was&nbsp;mainly=20
conceived&nbsp;for yoga lessons or meditation courses (with each track =
being=20
15:00 minutes), I learned, that most Yoga centers do like a physical CD, =
so I=20
produce a small amount of physical CDs (btw thanks Krispen,&nbsp;for the =

'Kunaki' link -&nbsp;that=C2=B4s very interesting).</FONT></DIV>
<DIV><FONT face=3DArial size=3D4>But then some people wrote to me that =
they would=20
</FONT><FONT face=3DArial size=3D4>prefer shorter tracks for&nbsp;just =
listening.=20
So, I remixed some tracks and made a "normal" album with 10 shorter =
tracks and=20
put that to digital distribution only&nbsp;by CD Baby (and thus to =
i-tunes,=20
Amazon, etc.), which works fine as a "modern", non-physical=20
release.</FONT></DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4>And, like Per said, it=C2=B4s a good =
thing to have a=20
release available&nbsp;for an unlimited time period (unlike the =
catalogues of=20
the music industry). When I had releases with the music industry, I had =
most of=20
the sales in the first 2-4 month and after that a constant drop till the =
album=20
was deleted from their catalogue. Now, with digital releases&nbsp;my =
audience is=20
slowly building up and I do have more downloads&nbsp;of my tracks the =
longer=20
they are available at the download platforms.</FONT></DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4>What I still miss on the web are sites=20
(or&nbsp;better one "reference"-site like Wikipedia) that do reviews of =
only=20
downloadable music. I have contacted many platforms that do reviews, but =
they=20
all wrote back, that they do reviews only for physical CDs - I think =
that=C2=B4s a=20
bit obsolete nowadays.</FONT></DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4>Ingo Ito</FONT></DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><U>Ingo Ito</U><BR>website:&nbsp; <A=20
href=3D"http://www.itofarm.com">www.itofarm.com</A><BR>myspace:&nbsp; <A =

href=3D"http://www.myspace.com/ingoito">www.myspace.com/ingoito</A><BR>bl=
og:&nbsp;=20
<A=20
href=3D"http://www.itofarm.blogspot.com/">www.itofarm.blogspot.com/</A><B=
R>last.fm:=20
<A=20
href=3D"http://www.lastfm.de/music/Ingo+Ito">www.lastfm.de/music/Ingo+Ito=
</A><BR>we7:=20
<A=20
href=3D"http://www.we7.com/public/artistDetails/Ingo-Ito?artistId=3D264">=
www.we7.com/public/artistDetails/Ingo-Ito?artistId=3D264</A><BR>facebook:=
=20
<A=20
href=3D"http://www.facebook.com/pages/Ingo-Ito/6469662235">www.facebook.c=
om/pages/Ingo-Ito/6469662235</A></FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial><U>Zen Hanami</U><BR>website: <A=20
href=3D"http://www.zenhanami.com">www.zenhanami.com</A><BR>myspace: <A=20
href=3D"http://www.myspace.com/zenhanami">www.myspace.com/zenhanami</A></=
FONT></DIV>
<DIV><FONT face=3DArial>CD Baby: <A=20
href=3D"http://www.cdbaby.com/cd/zenhanami">www.cdbaby.com/cd/zenhanami</=
A></FONT></DIV>
<DIV><FONT face=3DArial>Apple i-tunes Store: <A=20
href=3D"http://www.itunes.com/zenhanami">www.itunes.com/zenhanami</A><BR>=
Amazon=20
Download Store: <A=20
href=3D"http://www.amazon.com/Reflection-1/dp/B001BIL0NQ/ref=3Dsr_1_10?ie=
=3DUTF8&amp;s=3Ddmusic&amp;qid=3D1214567210&amp;sr=3D8-10">www.amazon.com=
/Reflection-1/dp/B001BIL0NQ/ref=3Dsr_1_10?ie=3DUTF8&amp;s=3Ddmusic&amp;qi=
d=3D1214567210&amp;sr=3D8-10</A><BR>payplay.fm=20
: <A=20
href=3D"http://www.payplay.fm/zenhanami">www.payplay.fm/zenhanami</A></FO=
NT></DIV>
<DIV><FONT face=3DArial>last.fm: <A=20
href=3D"http://www.last.fm/music/Zen+Hanami">www.last.fm/music/Zen+Hanami=
</A><BR>we7:=20
<A=20
href=3D"http://www.we7.com/public/artistDetails/Zen-Hanami?artistId=3D543=
4">www.we7.com/public/artistDetails/Zen-Hanami?artistId=3D5434</A></FONT>=
</DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D4></FONT>&nbsp;</DIV>
<DIV>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=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=3Dsfmissionman@yahoo.com =
href=3D"mailto:sfmissionman@yahoo.com">George=20
  Ludwig</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, December 29, 2008 =
6:39=20
  AM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> What does it mean to =
you, to=20
  "release a record"?</DIV>
  <DIV><BR></DIV>In the digital age, what is your standard procedure, as =
an=20
  independent artist, to =E2=80=9Crelease an album=E2=80=9D? Where do =
you send it for review?=20
  What kind of promo kit do you put together? Do you bother having it =
physically=20
  duplicated? Etc?<BR><BR>It=E2=80=99s been over ten years since I =
released a record for=20
  myself, and a lot has changed. I feel a bit like a dinosaur. And 2009 =
looks=20
  like I'm going to have several discs to put=20
  out!<BR><BR>-George<BR><BR><BR><BR>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=20
<BR></BLOCKQUOTE></BODY></HTML>

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From diamondfinancialservices101@mchsi.com  Tue Dec 30 13:29:50 2008
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	Tue, 30 Dec 2008 13:24:33 +0000
From: "Diamond Financial Services" <diamondfinancialservices101@mchsi.com>
Subject: Apply For Loans At 2% Interest Rate
Date: Tue, 30 Dec 2008 13:24:33 +0000
Message-Id: <123020081324.21756.495A2111000BB7E6000054FC223045151403010CD2079C080C03BFCECFCE9C0A0C07909D0A9C040E070C020E0207000B0201030E070B@mchsi.com>
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Diamond Financial Services
General Consultants
41436, Jalan Senuduk,
Taman Bukit Bandaraya, 59000
Kuala Lumpur, Malaysia.
Tel: + (60)-149-340-197
Fax: + (60)-169-645-069
Are you a business man or woman? Are you in any financial mess or do you need funds to start up your own business?
Do you need loan to settle your debt or pay off your bills or start a nice business? Do you have a low credit score and you are finding it hard to obtain capital loan from local banks or other financial institutions? Do you need a loan or funding for any reason.
We offer loan at low interest rate and with no credit check,we offer Personal loans,debt consolidation loans,venture capital, business loans,education loans,home loans or "loans for any reason!".Any interested Applicants should get back to me via email: E-mail:  (mrsteve.hardy35@hotmail.com)
Regards.
Mr. Steve Hardy
Diamond Financial Services
Kuala Lumpur,Malaysia
Phone: +(60)-149-340-197.

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Diamond Financial Services<br>General Consultants<br>41436, Jalan Senuduk,<=
br>Taman Bukit Bandaraya, 59000<br>Kuala Lumpur, Malaysia.<br>Tel: + (60)-1=
49-340-197<br>Fax: + (60)-169-645-069<br>Are you a business man or woman? A=
re you in any financial mess or do you need funds to start up your own busi=
ness?<br>Do you need loan to settle your debt or pay off your bills or star=
t a nice business? Do you have a low credit score and you are finding it ha=
rd to obtain capital loan from local banks or other financial institutions?=
 Do you need a loan or funding for any reason.<br>We offer loan at low inte=
rest rate and with no credit check,we offer Personal loans,debt consolidati=
on loans,venture capital, business loans,education loans,home loans or "loa=
ns for any reason!".Any interested Applicants should get back to me via ema=
il: E-mail:&nbsp; (mrsteve.hardy35@hotmail.com)<br>Regards.<br>Mr. Steve Ha=
rdy<br>Diamond Financial Services<br>Kuala Lumpur,Malaysia<br>Phone: +(60)-=
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From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 13:54:41 2008
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Date: Tue, 30 Dec 2008 14:54:39 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: kunaki (was: What does it mean to you, to "release a record"?)
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Mark said:
"whats this Kunaki.com thing.. gonna check after this..."

Kunaki is a service which makes CDs and DVDs (I'll only focus on the
CD part here). There is no initial setup cost, and there is a fixed
price of $1.75 per CD, independently of the number of units ordered in
one go or over lifetime.
There are some downsides - to qoute their website's FAQ: "Kunaki
operates more like a machine than a business and does not offer a
personalized service. [...] Because Kunaki is highly automated and
focused on quality, low price, and fast production, we offer a minimal
range of options."

That's the biggest downside. The only option is a jewel case with
black tray and 2-page booklet (everything printed in coulor).
Another downside (for some) is that there are very specific rules and
a very specific flow for supplying your CD content. You use their
custom configuration software. It reads the data from a CD in your
computer, then you select several image documents (TIFF 8bit RGB, NOT
16bit like it says on their website), also within the software, and
the software handles uploading data to their site. Want to give them a
WAV file and replication report instead? Doesn't work. Want to use
prepress PDFs? Doesn't work. Want a transparent jewel case, four-page
booklet, slim case or digipak? Doesn't work.

On the other side, everything they do (including handling your orders
and providing a web shop where your fans can order your CDs at a price
set by you) is free except for the cost to you of $1.75 per CD.

Basically, if you can live with the limitations (and the most
challenging ones for me are the package limitations), it allows for a
really extremely simple business plan. The only pre production costs
you have are the time you spend to compile your album and its artwork,
put it into the format they like and use their software to transfer
it. Starting from that point, your total income per CD is the
difference of price you set in their webshop minus $1.75 for the sales
you do from their webshop, or your selling price minus 1.75$ and
pro-rata shipping costs (for those you sell e.g. at concerts).

They also dropship to amazon and CDbaby at no additional cost.

            Rainer

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 13:57:32 2008
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Date: Tue, 30 Dec 2008 14:57:31 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What does it mean to you, to "release a record"?
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I agree! Ten years ago I wrote a book on "Internet Music" and back
then it looked all good and evolving except that the web were in a
desperate need of cicerones to take over where the sacked A&R guys and
critics did a good job for the traditional record business. We thought
that would change within a couple of years, but it didn't. Around the
millennium there was an upstart business focusing on reviewing digital
music, Listen.com, but the company never reached break-even during the
sponsored period and went out of business. Many record labels
supported Listen.com in starting raphsody.com, trying to capitalize on
the reviewing by selling a listening subscription for $6 a month. That
wasn't a hit either and today the URL http://www.raphsody.com/ hosts
something completely different.

However, reviewing digitally distributed music is sort of implied in
some community based music sites that use recommendation engines.
Amazon.com was pioneering this and it seems iTunes still keeps it on
Job's to-do list. Non commercial sites/services I recall that also
make use of recommendation engines are Jamendo.com, Last.fm, iLike.
They may link "buy" buttons to web shops. Especially Jamendo boasts a
developed music reviewing community.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=3D6550



On Tue, Dec 30, 2008 at 2:11 PM, Ingo Ito <ingoito@itofarm.com> wrote:
> What I still miss on the web are sites (or better one "reference"-site li=
ke
> Wikipedia) that do reviews of only downloadable music. I have contacted m=
any
> platforms that do reviews, but they all wrote back, that they do reviews
> only for physical CDs - I think that=B4s a bit obsolete nowadays.
>
> Ingo Ito

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 14:12:32 2008
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Subject: Re: kunaki (was: What does it mean to you, to "release a record"?)
Date: Tue, 30 Dec 2008 15:12:30 +0100
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Those packaging limitations are exactly why I used Tunecore, but like  
I've said before, their colors were much more muted than my test  
printings at a local print shop. The prices are pretty good, though.

Doc

On Dec 30, 2008, at 2:54 PM, Rainer Straschill wrote:

> Mark said:
> "whats this Kunaki.com thing.. gonna check after this..."
>
> Kunaki is a service which makes CDs and DVDs (I'll only focus on the
> CD part here). There is no initial setup cost, and there is a fixed
> price of $1.75 per CD, independently of the number of units ordered in
> one go or over lifetime.
> There are some downsides - to qoute their website's FAQ: "Kunaki
> operates more like a machine than a business and does not offer a
> personalized service. [...] Because Kunaki is highly automated and
> focused on quality, low price, and fast production, we offer a minimal
> range of options."
>
> That's the biggest downside. The only option is a jewel case with
> black tray and 2-page booklet (everything printed in coulor).
> Another downside (for some) is that there are very specific rules and
> a very specific flow for supplying your CD content. You use their
> custom configuration software. It reads the data from a CD in your
> computer, then you select several image documents (TIFF 8bit RGB, NOT
> 16bit like it says on their website), also within the software, and
> the software handles uploading data to their site. Want to give them a
> WAV file and replication report instead? Doesn't work. Want to use
> prepress PDFs? Doesn't work. Want a transparent jewel case, four-page
> booklet, slim case or digipak? Doesn't work.
>
> On the other side, everything they do (including handling your orders
> and providing a web shop where your fans can order your CDs at a price
> set by you) is free except for the cost to you of $1.75 per CD.
>
> Basically, if you can live with the limitations (and the most
> challenging ones for me are the package limitations), it allows for a
> really extremely simple business plan. The only pre production costs
> you have are the time you spend to compile your album and its artwork,
> put it into the format they like and use their software to transfer
> it. Starting from that point, your total income per CD is the
> difference of price you set in their webshop minus $1.75 for the sales
> you do from their webshop, or your selling price minus 1.75$ and
> pro-rata shipping costs (for those you sell e.g. at concerts).
>
> They also dropship to amazon and CDbaby at no additional cost.
>
>            Rainer
>


From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 15:58:41 2008
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Subject: UltraLite-mk3 question
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Hi, 
I'm looking for a compact/portable firewire audio interface. In addition =
to the studio recording capabilities, I also want to use it as a standalo=
ne live mixer. The UltraLite-mk3 seems to meet my requirements but I do h=
ave a question:

- can you use the UltraLite as a standalone live mixer and indepently con=
trol your own monitor mix and send the main mix send to the FOH mixer? Ac=
cording to the specs, the outputs are balanced 1/4 jacks so that would sp=
are me a DI. 

Thanks. 
--- 
Sjaak
http://www.livelooping.be/
http://www.overgaauw.be/
http://www.myspace.com/sjaakovergaauw

__________________________________
Scarlet schrapt de downloadlimiet!
ADSL20 NO LIMIT voor =80 19,95. 
Meer info op www.scarlet.be

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 16:52:31 2008
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From: =?ISO-8859-1?Q?tEd_=AE_KiLLiAn?= <tedkillian@charter.net>
Subject: Re: kunaki (was: What does it mean to you, to "release a record"?)
Date: Tue, 30 Dec 2008 08:52:25 -0800
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Howdy,

Another drawback of the Kunaki service that Rainer doesn't mention is
that their uploading software is Windows PC compatible only.

That means if you are a long-time Mac user (like me) you have to find
a friend with a Windows PC to install the Kunaki software and do the
uploading for you.

In my case it would probably be my kids - they have a PC for gaming.

Basically I really like the Kunaki packaging quality - limitations and 
all.

I'm a professional graphic designer and I have to say the printing is
pretty darn good.

I've designed the graphic component for about 7-8 different people
(label-mates and friends mostly) that have ultimately used Kunaki.

I've designed dozens of other CDs printed elsewhere and there is really
no overt discernible difference.

I can't do the uploading on my Mac, but I can still create the imagery.

I have every confidence that when I get around to it I can master the
audio on my Mac the next time I put out an "album" and simply upload
everything with my kids gaming computer (which has internet access too).

I may even reprint/republish my old CD "Flux Aeterna" on Kunaki - the
original 1150 CDs order of is nearly gone.

I've about a half dozen left personally and CDBaby, GuitatrNine, 
IndyJazz
and the pfMENTUM label have very few on hand any more either.

I'd have to make some serious adjustments to the old packaging to make 
it
fit within Kunaki's limited scheme, but it could be done I suppose.

For limited run CD issues the price and quality can't be beat.

Cheers,

Ted

On Dec 30, 2008, at 5:54 AM, Rainer Straschill wrote:

> Mark said:
> "whats this Kunaki.com thing.. gonna check after this..."
>
> Kunaki is a service which makes CDs and DVDs (I'll only focus on the
> CD part here). There is no initial setup cost, and there is a fixed
> price of $1.75 per CD, independently of the number of units ordered in
> one go or over lifetime.
> There are some downsides - to qoute their website's FAQ: "Kunaki
> operates more like a machine than a business and does not offer a
> personalized service. [...] Because Kunaki is highly automated and
> focused on quality, low price, and fast production, we offer a minimal
> range of options."
>
> That's the biggest downside. The only option is a jewel case with
> black tray and 2-page booklet (everything printed in coulor).
> Another downside (for some) is that there are very specific rules and
> a very specific flow for supplying your CD content. You use their
> custom configuration software. It reads the data from a CD in your
> computer, then you select several image documents (TIFF 8bit RGB, NOT
> 16bit like it says on their website), also within the software, and
> the software handles uploading data to their site. Want to give them a
> WAV file and replication report instead? Doesn't work. Want to use
> prepress PDFs? Doesn't work. Want a transparent jewel case, four-page
> booklet, slim case or digipak? Doesn't work.
>
> On the other side, everything they do (including handling your orders
> and providing a web shop where your fans can order your CDs at a price
> set by you) is free except for the cost to you of $1.75 per CD.
>
> Basically, if you can live with the limitations (and the most
> challenging ones for me are the package limitations), it allows for a
> really extremely simple business plan. The only pre production costs
> you have are the time you spend to compile your album and its artwork,
> put it into the format they like and use their software to transfer
> it. Starting from that point, your total income per CD is the
> difference of price you set in their webshop minus $1.75 for the sales
> you do from their webshop, or your selling price minus 1.75$ and
> pro-rata shipping costs (for those you sell e.g. at concerts).
>
> They also dropship to amazon and CDbaby at no additional cost.
>
>             Rainer
>

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Date: Tue, 30 Dec 2008 15:03:04 -0500
From: "Dennis Moser" <sinsofmachaut@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: kunaki (was: What does it mean to you, to "release a record"?)
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Yep ... Kunaki has some limitations ... BUT ... It is dead-simple to use and
that fixed price is pretty dependable. I had to borrow a PC to do the
graphics and upload work, but now I have a Acer Aspire One netbook that will
handle that part of things ... you just have to keep things really simple
and it's fine. I created all of my imagery and audio on the Mac and just
impoted it over to the PC for production. That was how I did this one last
spring:

http://audiozoloft.com/CDs/Warming/

Best,

Dennis

On Tue, Dec 30, 2008 at 11:52 AM, tEd (R) KiLLiAn <tedkillian@charter.net>wrote:

> Howdy,
>
> Another drawback of the Kunaki service that Rainer doesn't mention is
> that their uploading software is Windows PC compatible only.
>
> That means if you are a long-time Mac user (like me) you have to find
> a friend with a Windows PC to install the Kunaki software and do the
> uploading for you.
>
> In my case it would probably be my kids - they have a PC for gaming.
>
> Basically I really like the Kunaki packaging quality - limitations and all.
>
> I'm a professional graphic designer and I have to say the printing is
> pretty darn good.
>
> I've designed the graphic component for about 7-8 different people
> (label-mates and friends mostly) that have ultimately used Kunaki.
>
> I've designed dozens of other CDs printed elsewhere and there is really
> no overt discernible difference.
>
> I can't do the uploading on my Mac, but I can still create the imagery.
>
> I have every confidence that when I get around to it I can master the
> audio on my Mac the next time I put out an "album" and simply upload
> everything with my kids gaming computer (which has internet access too).
>
> I may even reprint/republish my old CD "Flux Aeterna" on Kunaki - the
> original 1150 CDs order of is nearly gone.
>
> I've about a half dozen left personally and CDBaby, GuitatrNine, IndyJazz
> and the pfMENTUM label have very few on hand any more either.
>
> I'd have to make some serious adjustments to the old packaging to make it
> fit within Kunaki's limited scheme, but it could be done I suppose.
>
> For limited run CD issues the price and quality can't be beat.
>
> Cheers,
>
> Ted
>
>
> On Dec 30, 2008, at 5:54 AM, Rainer Straschill wrote:
>
>  Mark said:
>> "whats this Kunaki.com thing.. gonna check after this..."
>>
>> Kunaki is a service which makes CDs and DVDs (I'll only focus on the
>> CD part here). There is no initial setup cost, and there is a fixed
>> price of $1.75 per CD, independently of the number of units ordered in
>> one go or over lifetime.
>> There are some downsides - to qoute their website's FAQ: "Kunaki
>> operates more like a machine than a business and does not offer a
>> personalized service. [...] Because Kunaki is highly automated and
>> focused on quality, low price, and fast production, we offer a minimal
>> range of options."
>>
>> That's the biggest downside. The only option is a jewel case with
>> black tray and 2-page booklet (everything printed in coulor).
>> Another downside (for some) is that there are very specific rules and
>> a very specific flow for supplying your CD content. You use their
>> custom configuration software. It reads the data from a CD in your
>> computer, then you select several image documents (TIFF 8bit RGB, NOT
>> 16bit like it says on their website), also within the software, and
>> the software handles uploading data to their site. Want to give them a
>> WAV file and replication report instead? Doesn't work. Want to use
>> prepress PDFs? Doesn't work. Want a transparent jewel case, four-page
>> booklet, slim case or digipak? Doesn't work.
>>
>> On the other side, everything they do (including handling your orders
>> and providing a web shop where your fans can order your CDs at a price
>> set by you) is free except for the cost to you of $1.75 per CD.
>>
>> Basically, if you can live with the limitations (and the most
>> challenging ones for me are the package limitations), it allows for a
>> really extremely simple business plan. The only pre production costs
>> you have are the time you spend to compile your album and its artwork,
>> put it into the format they like and use their software to transfer
>> it. Starting from that point, your total income per CD is the
>> difference of price you set in their webshop minus $1.75 for the sales
>> you do from their webshop, or your selling price minus 1.75$ and
>> pro-rata shipping costs (for those you sell e.g. at concerts).
>>
>> They also dropship to amazon and CDbaby at no additional cost.
>>
>>            Rainer
>>
>>
>


-- 
http://myspace.com/usrsbin
http://audiozoloft.com
http://usrslashsbin.angrek.com/

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Yep ... Kunaki has some limitations ... BUT ... It is dead-simple to use and that fixed price is pretty dependable. I had to borrow a PC to do the graphics and upload work, but now I have a Acer Aspire One netbook that will handle that part of things ... you just have to keep things really simple and it&#39;s fine. I created all of my imagery and audio on the Mac and just impoted it over to the PC for production. That was how I did this one last spring:<br>
<br><a href="http://audiozoloft.com/CDs/Warming/">http://audiozoloft.com/CDs/Warming/</a><br><br>Best,<br><br>Dennis<br><br><div class="gmail_quote">On Tue, Dec 30, 2008 at 11:52 AM, tEd &reg; KiLLiAn <span dir="ltr">&lt;<a href="mailto:tedkillian@charter.net">tedkillian@charter.net</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Howdy,<br>
<br>
Another drawback of the Kunaki service that Rainer doesn&#39;t mention is<br>
that their uploading software is Windows PC compatible only.<br>
<br>
That means if you are a long-time Mac user (like me) you have to find<br>
a friend with a Windows PC to install the Kunaki software and do the<br>
uploading for you.<br>
<br>
In my case it would probably be my kids - they have a PC for gaming.<br>
<br>
Basically I really like the Kunaki packaging quality - limitations and all.<br>
<br>
I&#39;m a professional graphic designer and I have to say the printing is<br>
pretty darn good.<br>
<br>
I&#39;ve designed the graphic component for about 7-8 different people<br>
(label-mates and friends mostly) that have ultimately used Kunaki.<br>
<br>
I&#39;ve designed dozens of other CDs printed elsewhere and there is really<br>
no overt discernible difference.<br>
<br>
I can&#39;t do the uploading on my Mac, but I can still create the imagery.<br>
<br>
I have every confidence that when I get around to it I can master the<br>
audio on my Mac the next time I put out an &quot;album&quot; and simply upload<br>
everything with my kids gaming computer (which has internet access too).<br>
<br>
I may even reprint/republish my old CD &quot;Flux Aeterna&quot; on Kunaki - the<br>
original 1150 CDs order of is nearly gone.<br>
<br>
I&#39;ve about a half dozen left personally and CDBaby, GuitatrNine, IndyJazz<br>
and the pfMENTUM label have very few on hand any more either.<br>
<br>
I&#39;d have to make some serious adjustments to the old packaging to make it<br>
fit within Kunaki&#39;s limited scheme, but it could be done I suppose.<br>
<br>
For limited run CD issues the price and quality can&#39;t be beat.<br>
<br>
Cheers,<br><font color="#888888">
<br>
Ted</font><div><div></div><div class="Wj3C7c"><br>
<br>
On Dec 30, 2008, at 5:54 AM, Rainer Straschill wrote:<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Mark said:<br>
&quot;whats this Kunaki.com thing.. gonna check after this...&quot;<br>
<br>
Kunaki is a service which makes CDs and DVDs (I&#39;ll only focus on the<br>
CD part here). There is no initial setup cost, and there is a fixed<br>
price of $1.75 per CD, independently of the number of units ordered in<br>
one go or over lifetime.<br>
There are some downsides - to qoute their website&#39;s FAQ: &quot;Kunaki<br>
operates more like a machine than a business and does not offer a<br>
personalized service. [...] Because Kunaki is highly automated and<br>
focused on quality, low price, and fast production, we offer a minimal<br>
range of options.&quot;<br>
<br>
That&#39;s the biggest downside. The only option is a jewel case with<br>
black tray and 2-page booklet (everything printed in coulor).<br>
Another downside (for some) is that there are very specific rules and<br>
a very specific flow for supplying your CD content. You use their<br>
custom configuration software. It reads the data from a CD in your<br>
computer, then you select several image documents (TIFF 8bit RGB, NOT<br>
16bit like it says on their website), also within the software, and<br>
the software handles uploading data to their site. Want to give them a<br>
WAV file and replication report instead? Doesn&#39;t work. Want to use<br>
prepress PDFs? Doesn&#39;t work. Want a transparent jewel case, four-page<br>
booklet, slim case or digipak? Doesn&#39;t work.<br>
<br>
On the other side, everything they do (including handling your orders<br>
and providing a web shop where your fans can order your CDs at a price<br>
set by you) is free except for the cost to you of $1.75 per CD.<br>
<br>
Basically, if you can live with the limitations (and the most<br>
challenging ones for me are the package limitations), it allows for a<br>
really extremely simple business plan. The only pre production costs<br>
you have are the time you spend to compile your album and its artwork,<br>
put it into the format they like and use their software to transfer<br>
it. Starting from that point, your total income per CD is the<br>
difference of price you set in their webshop minus $1.75 for the sales<br>
you do from their webshop, or your selling price minus 1.75$ and<br>
pro-rata shipping costs (for those you sell e.g. at concerts).<br>
<br>
They also dropship to amazon and CDbaby at no additional cost.<br>
<br>
 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;Rainer<br>
<br>
</blockquote>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://myspace.com/usrsbin">http://myspace.com/usrsbin</a><br><a href="http://audiozoloft.com">http://audiozoloft.com</a><br><a href="http://usrslashsbin.angrek.com/">http://usrslashsbin.angrek.com/</a><br>


------=_Part_197318_15810866.1230667384996--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 20:23:53 2008
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To: <Loopers-Delight@loopers-delight.com>
References: <7334ca1b0812300554nb14291of619557b5ef7358@mail.gmail.com>
Subject: Re: kunaki (was: What does it mean to you, to "release a record"?)
Date: Tue, 30 Dec 2008 13:23:49 -0700
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Exellent description, Rainer. I am a huge fan of Kunaki, and now have 14 CDs 
and 3 DVDs published using the service.

Kris
----- Original Message ----- 


> Mark said:
> "whats this Kunaki.com thing.. gonna check after this..."
>
> Kunaki is a service which makes CDs and DVDs (I'll only focus on the
> CD part here). There is no initial setup cost, and there is a fixed
> price of $1.75 per CD, independently of the number of units ordered in
> one go or over lifetime.
> There are some downsides - to qoute their website's FAQ: "Kunaki
> operates more like a machine than a business and does not offer a
> personalized service. [...] Because Kunaki is highly automated and
> focused on quality, low price, and fast production, we offer a minimal
> range of options."
>
> That's the biggest downside. The only option is a jewel case with
> black tray and 2-page booklet (everything printed in coulor).
> Another downside (for some) is that there are very specific rules and
> a very specific flow for supplying your CD content. You use their
> custom configuration software. It reads the data from a CD in your
> computer, then you select several image documents (TIFF 8bit RGB, NOT
> 16bit like it says on their website), also within the software, and
> the software handles uploading data to their site. Want to give them a
> WAV file and replication report instead? Doesn't work. Want to use
> prepress PDFs? Doesn't work. Want a transparent jewel case, four-page
> booklet, slim case or digipak? Doesn't work.
>
> On the other side, everything they do (including handling your orders
> and providing a web shop where your fans can order your CDs at a price
> set by you) is free except for the cost to you of $1.75 per CD.
>
> Basically, if you can live with the limitations (and the most
> challenging ones for me are the package limitations), it allows for a
> really extremely simple business plan. The only pre production costs
> you have are the time you spend to compile your album and its artwork,
> put it into the format they like and use their software to transfer
> it. Starting from that point, your total income per CD is the
> difference of price you set in their webshop minus $1.75 for the sales
> you do from their webshop, or your selling price minus 1.75$ and
> pro-rata shipping costs (for those you sell e.g. at concerts).
>
> They also dropship to amazon and CDbaby at no additional cost.
>
>            Rainer
>
> 

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 21:11:02 2008
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Date: Tue, 30 Dec 2008 22:05:06 +0100
From: "Lasse juul Kolding" <dubbilan@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: New Software Looper
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Dear fellow loopers,

A quick annoucement to tell you about a new looping software called
"Syncopath Performer" ready for download.

It is 100% Free as a VST for Windows and Intel Mac.

The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there's currently no known bugs!
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.
It has basically perfect synchronization as both Master and Slave of the
Host environment (the testing software has primarilly been Ableton Live 7).

For more information head over to:

Http://www.juvul.com

Download links for both Windows and Intel Mac are available.

Happy Holidays! :)

Lasse

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Dear fellow loopers,<br><br>A quick annoucement to tell you about a new looping software called &quot;Syncopath Performer&quot; ready for download.<br><br>It is 100% Free as a VST for Windows and Intel Mac.<br><br>The current version is called 1.0Beta and so far appears very solid - especially on Mac where there&#39;s currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully controlled via MIDI.<br>It has basically perfect synchronization as both Master and Slave of the Host environment (the testing software has primarilly been Ableton Live 7).<br>
<br>For more information head over to:<br><br><a href="Http://www.juvul.com">Http://www.juvul.com</a><br><br>Download links for both Windows and Intel Mac are available.<br><br>Happy Holidays! :)<br><br>Lasse<br><br>

------=_Part_76320_2669612.1230671106848--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 21:13:07 2008
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Subject: Re: kunaki (was: What does it mean to you, to "release a record"?)
Date: Tue, 30 Dec 2008 23:13:00 +0200
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hi,

i was wondering if kunaki produces cd-r's or glass mastered cds?

best.

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Wounded Breath" album is out now on Aucourant Records:
www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23

  ----- Original Message -----=20
  From: Krispen Hartung=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Tuesday, December 30, 2008 10:23 PM
  Subject: Re: kunaki (was: What does it mean to you, to "release a =
record"?)


  Exellent description, Rainer. I am a huge fan of Kunaki, and now have =
14 CDs=20
  and 3 DVDs published using the service.

  Kris
  ----- Original Message -----=20


  > Mark said:
  > "whats this Kunaki.com thing.. gonna check after this..."
  >
  > Kunaki is a service which makes CDs and DVDs (I'll only focus on the
  > CD part here). There is no initial setup cost, and there is a fixed
  > price of $1.75 per CD, independently of the number of units ordered =
in
  > one go or over lifetime.
  > There are some downsides - to qoute their website's FAQ: "Kunaki
  > operates more like a machine than a business and does not offer a
  > personalized service. [...] Because Kunaki is highly automated and
  > focused on quality, low price, and fast production, we offer a =
minimal
  > range of options."
  >
  > That's the biggest downside. The only option is a jewel case with
  > black tray and 2-page booklet (everything printed in coulor).
  > Another downside (for some) is that there are very specific rules =
and
  > a very specific flow for supplying your CD content. You use their
  > custom configuration software. It reads the data from a CD in your
  > computer, then you select several image documents (TIFF 8bit RGB, =
NOT
  > 16bit like it says on their website), also within the software, and
  > the software handles uploading data to their site. Want to give them =
a
  > WAV file and replication report instead? Doesn't work. Want to use
  > prepress PDFs? Doesn't work. Want a transparent jewel case, =
four-page
  > booklet, slim case or digipak? Doesn't work.
  >
  > On the other side, everything they do (including handling your =
orders
  > and providing a web shop where your fans can order your CDs at a =
price
  > set by you) is free except for the cost to you of $1.75 per CD.
  >
  > Basically, if you can live with the limitations (and the most
  > challenging ones for me are the package limitations), it allows for =
a
  > really extremely simple business plan. The only pre production costs
  > you have are the time you spend to compile your album and its =
artwork,
  > put it into the format they like and use their software to transfer
  > it. Starting from that point, your total income per CD is the
  > difference of price you set in their webshop minus $1.75 for the =
sales
  > you do from their webshop, or your selling price minus 1.75$ and
  > pro-rata shipping costs (for those you sell e.g. at concerts).
  >
  > They also dropship to amazon and CDbaby at no additional cost.
  >
  >            Rainer
  >
  >=20

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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>hi,</DIV>
<DIV>&nbsp;</DIV>
<DIV>i was wondering if kunaki produces cd-r's or glass mastered =
cds?</DIV>
<DIV>&nbsp;</DIV>
<DIV>best.</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Wounded Breath" album is out =
now on=20
Aucourant Records:<BR><A=20
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23</A><BR>=
</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=3Dinfo@krispenhartung.com =
href=3D"mailto:info@krispenhartung.com">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, December 30, =
2008 10:23=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: kunaki (was: What =
does it=20
  mean to you, to "release a record"?)</DIV>
  <DIV><BR></DIV>Exellent description, Rainer. I am a huge fan of =
Kunaki, and=20
  now have 14 CDs <BR>and 3 DVDs published using the=20
  service.<BR><BR>Kris<BR>----- Original Message ----- <BR><BR><BR>&gt; =
Mark=20
  said:<BR>&gt; "whats this Kunaki.com thing.. gonna check after=20
  this..."<BR>&gt;<BR>&gt; Kunaki is a service which makes CDs and DVDs =
(I'll=20
  only focus on the<BR>&gt; CD part here). There is no initial setup =
cost, and=20
  there is a fixed<BR>&gt; price of $1.75 per CD, independently of the =
number of=20
  units ordered in<BR>&gt; one go or over lifetime.<BR>&gt; There are =
some=20
  downsides - to qoute their website's FAQ: "Kunaki<BR>&gt; operates =
more like a=20
  machine than a business and does not offer a<BR>&gt; personalized =
service.=20
  [...] Because Kunaki is highly automated and<BR>&gt; focused on =
quality, low=20
  price, and fast production, we offer a minimal<BR>&gt; range of=20
  options."<BR>&gt;<BR>&gt; That's the biggest downside. The only option =
is a=20
  jewel case with<BR>&gt; black tray and 2-page booklet (everything =
printed in=20
  coulor).<BR>&gt; Another downside (for some) is that there are very =
specific=20
  rules and<BR>&gt; a very specific flow for supplying your CD content. =
You use=20
  their<BR>&gt; custom configuration software. It reads the data from a =
CD in=20
  your<BR>&gt; computer, then you select several image documents (TIFF =
8bit RGB,=20
  NOT<BR>&gt; 16bit like it says on their website), also within the =
software,=20
  and<BR>&gt; the software handles uploading data to their site. Want to =
give=20
  them a<BR>&gt; WAV file and replication report instead? Doesn't work. =
Want to=20
  use<BR>&gt; prepress PDFs? Doesn't work. Want a transparent jewel =
case,=20
  four-page<BR>&gt; booklet, slim case or digipak? Doesn't =
work.<BR>&gt;<BR>&gt;=20
  On the other side, everything they do (including handling your =
orders<BR>&gt;=20
  and providing a web shop where your fans can order your CDs at a =
price<BR>&gt;=20
  set by you) is free except for the cost to you of $1.75 per=20
  CD.<BR>&gt;<BR>&gt; Basically, if you can live with the limitations =
(and the=20
  most<BR>&gt; challenging ones for me are the package limitations), it =
allows=20
  for a<BR>&gt; really extremely simple business plan. The only pre =
production=20
  costs<BR>&gt; you have are the time you spend to compile your album =
and its=20
  artwork,<BR>&gt; put it into the format they like and use their =
software to=20
  transfer<BR>&gt; it. Starting from that point, your total income per =
CD is=20
  the<BR>&gt; difference of price you set in their webshop minus $1.75 =
for the=20
  sales<BR>&gt; you do from their webshop, or your selling price minus =
1.75$=20
  and<BR>&gt; pro-rata shipping costs (for those you sell e.g. at=20
  concerts).<BR>&gt;<BR>&gt; They also dropship to amazon and CDbaby at =
no=20
  additional=20
  =
cost.<BR>&gt;<BR>&gt;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;=20
  Rainer<BR>&gt;<BR>&gt; <BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_022E_01C96AD4.288E8690--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 21:14:56 2008
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Date: Tue, 30 Dec 2008 16:09:50 -0500
From: Bill Fox <billyfox@soundscapes.us>
Subject: [Fwd: Re: What does it mean to you, to "release a record"?]
To: Loopers Delight Mailing List <Loopers-Delight@loopers-delight.com>
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Loren saw my post but I didn't see it make it to the list.  Sorry if 
you've all seen this before but I just had to try again.

Cheers,

Bill

-------- Original Message --------
Loren Claypool wrote:
 > The concept of delivering songs one-at-a-time is fascinating and
 > something I'll continue to ponder. At this point I'm more project
 > focused, but I'm intrigued by the idea of deliverying a steady diet of
 > material in smaller pieces. I am interested in how folks are doing
 > this with non-mainstream material in a pay-for environment.

There's no rules any more. So why not do both when you are moved to do so?

I find it interesting to note that Marillion know exactly how large
their fan base is and how many CDs they can sell of each album. The
past few releases were financed by presales BEFORE Marillion would even
step foot into the studio. The names of the presale buyers appear in
the thick booklet that comes with the CD. On their most recent release,
digital files of all the songs were made available when the CDs were
being delivered to the presale folks. You don't have to buy the CD to
get the music. But you must buy the CD in order to get the booklet.

That last bit reminds me that Steven Wilson (Porcupine Tree) releases
stuff in 5.1 mixes in addition to regular stereo mixes. 5.1 and
booklets (and who knows what else) are not typically pirated the way MP3
files of "normal stereo" material is. So if you want to increase your
CD sales, one concept to explore is to include something that isn't so
easy to pirate but has some added (desired) value that a typical CD only
release doesn't have. Of course, the extra material increases
manufacturing costs to you and finished product costs to the customer.
I'm sure that there is a balance to strike somewhere.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 21:58:02 2008
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From: Bill Fox <billyfox@soundscapes.us>
Subject: Re: What does it mean to you, to "release a record"?
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Ingo Ito wrote:
> What I still miss on the web are sites (or better one "reference"-site 
> like Wikipedia) that do reviews of only downloadable music. I have 
> contacted many platforms that do reviews, but they all wrote back, 
> that they do reviews only for physical CDs - I think that´s a bit 
> obsolete nowadays.
That's an interesting thought that parallels my situation as a radio 
show host.  Like me, I am sure that reviewers are inundated with CD 
releases.  Their time is limited and they can't afford to spend it 
downloading music that they might not review or even have time to hear.  
They certainly can't be burning CDRs in order to transport a downloaded 
album to their special listening station if that station is not their 
computer.  They also need to put the brakes on all the possible 
submissions.  Once upon a time, albums for review came only from 
labels.  The labels weeded out the wheat from the chaff, so to speak.  
In today's climate, there is no gate keeper like a label so the reviewer 
has to either accept everything from everyone, limited only by the 
genre(s) of music covered by the reviewer.  No gate keepers and no rules 
on when, how, or what to release.  There are no standards for the myriad 
of artists to follow.  What's a poor reviewer to do?  ;-)

In my case, neither station where I host shows provide the means to play 
files.  Even if they did, how would I transport files there?  I do not 
have the time or finances to burn CDRs and print up cover inserts and 
tray cards.  There are far more artists than there is of me!  I need a 
finished product in my hand (be it professionally manufactured or hand 
made at home by the artist) with all the information at my disposal.  I 
can't take an unmarked CDR to the radio station and be able to create a 
playlist that lists artist, song played, album, and label (if any).  
(You'd be surprised how many times an artist sends me an unmarked CDR 
with no paperwork despite the form letter I send that specifies my needs 
in excrutiating detail!)

So even in this climate of personal publishing of non-physical product, 
there needs to be an understanding of how DJs, reviewers, and other 
industry people need to operate.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 22:08:39 2008
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Subject: Re: kunaki
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Krispen Hartung wrote:
> Exellent description, Rainer. I am a huge fan of Kunaki, and now have 
> 14 CDs and 3 DVDs published using the service. 
You just have to keep watch on sales and, if necessary, buy one of your 
own CD periodically otherwise the machine aspect of Kunaki kicks in and 
deletes your title that hasn't sold within a specified time frame.

Cheers,

Bill

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 22:12:09 2008
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Subject: Re: New Software Looper
Date: Tue, 30 Dec 2008 13:59:28 -0800
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neat! thanks, i'm going to check this out.
curious when the MIDIum will be released too.

best, zoe


On Dec 30, 2008, at 1:05 PM, Lasse juul Kolding wrote:

> Dear fellow loopers,
>
> A quick annoucement to tell you about a new looping software called  
> "Syncopath Performer" ready for download.
>
> It is 100% Free as a VST for Windows and Intel Mac.
>
> The current version is called 1.0Beta and so far appears very solid  
> - especially on Mac where there's currently no known bugs!
> It is made with MIDI controllers like the FCB1010 in mind and is  
> fully controlled via MIDI.
> It has basically perfect synchronization as both Master and Slave  
> of the Host environment (the testing software has primarilly been  
> Ableton Live 7).
>
> For more information head over to:
>
> Http://www.juvul.com
>
> Download links for both Windows and Intel Mac are available.
>
> Happy Holidays! :)
>
> Lasse
>


--Apple-Mail-1--1035902304
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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
neat! thanks, i'm going to check this out.<div>curious when the MIDIum =
will be released too.</div><div><br></div><div>best, =
zoe</div><div><br></div><div><br></div><div>On Dec 30, 2008, at 1:05 PM, =
Lasse juul Kolding wrote:<div><div><div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">Dear =
fellow loopers,<br><br>A quick annoucement to tell you about a new =
looping software called "Syncopath Performer" ready for =
download.<br><br>It is 100% Free as a VST for Windows and Intel =
Mac.<br><br>The current version is called 1.0Beta and so far appears =
very solid - especially on Mac where there's currently no known =
bugs!<br> It is made with MIDI controllers like the FCB1010 in mind and =
is fully controlled via MIDI.<br>It has basically perfect =
synchronization as both Master and Slave of the Host environment (the =
testing software has primarilly been Ableton Live 7).<br> <br>For more =
information head over to:<br><br><a =
href=3D"Http://www.juvul.com">Http://www.juvul.com</a><br><br>Download =
links for both Windows and Intel Mac are available.<br><br>Happy =
Holidays! =
:)<br><br>Lasse<br><br></blockquote></div><br></div></div></div></body></h=
tml>=

--Apple-Mail-1--1035902304--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 22:42:12 2008
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Subject: Re: kunaki
Date: Tue, 30 Dec 2008 15:42:09 -0700
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Exactly!  Thanks for mentioning that. I have an Outlook calendar invite that 
reminds me to order one of all my items, regardless of whether I need to or 
not.

Kris
----- Original Message ----- 

> Krispen Hartung wrote:
>> Exellent description, Rainer. I am a huge fan of Kunaki, and now have 14 
>> CDs and 3 DVDs published using the service.
> You just have to keep watch on sales and, if necessary, buy one of your 
> own CD periodically otherwise the machine aspect of Kunaki kicks in and 
> deletes your title that hasn't sold within a specified time frame.
>
> Cheers,
>
> Bill
>
> 

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 22:44:34 2008
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Subject: Re: kunaki (was: What does it mean to you, to "release a record"?)
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CD-Rs. But they are sliver bottomed and no one ever suspects they are =
CD-R, nor have I have had any major issues with their quality.  I =
stopped making glass mastered after my first CD. Unless I'm selling =
thousands of CDs, I consider it a waste of time. The new CD-Rs that =
these manufacturers are making these days are a lot better quality than =
those made in the past.=20

Kris
  ----- Original Message -----=20

  hi,

  i was wondering if kunaki produces cd-r's or glass mastered cds?

  best.

  Erdem Helvacioglu
  www.erdemhelvacioglu.com
  www.myspace.com/erdemhelvacioglu
  * * * * * * * * * * * * * * * * * * * *
  "Wounded Breath" album is out now on Aucourant Records:
  www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23

    ----- Original Message -----=20
    From: Krispen Hartung=20
    To: Loopers-Delight@loopers-delight.com=20
    Sent: Tuesday, December 30, 2008 10:23 PM
    Subject: Re: kunaki (was: What does it mean to you, to "release a =
record"?)


    Exellent description, Rainer. I am a huge fan of Kunaki, and now =
have 14 CDs=20
    and 3 DVDs published using the service.

    Kris
    ----- Original Message -----=20


    > Mark said:
    > "whats this Kunaki.com thing.. gonna check after this..."
    >
    > Kunaki is a service which makes CDs and DVDs (I'll only focus on =
the
    > CD part here). There is no initial setup cost, and there is a =
fixed
    > price of $1.75 per CD, independently of the number of units =
ordered in
    > one go or over lifetime.
    > There are some downsides - to qoute their website's FAQ: "Kunaki
    > operates more like a machine than a business and does not offer a
    > personalized service. [...] Because Kunaki is highly automated and
    > focused on quality, low price, and fast production, we offer a =
minimal
    > range of options."
    >
    > That's the biggest downside. The only option is a jewel case with
    > black tray and 2-page booklet (everything printed in coulor).
    > Another downside (for some) is that there are very specific rules =
and
    > a very specific flow for supplying your CD content. You use their
    > custom configuration software. It reads the data from a CD in your
    > computer, then you select several image documents (TIFF 8bit RGB, =
NOT
    > 16bit like it says on their website), also within the software, =
and
    > the software handles uploading data to their site. Want to give =
them a
    > WAV file and replication report instead? Doesn't work. Want to use
    > prepress PDFs? Doesn't work. Want a transparent jewel case, =
four-page
    > booklet, slim case or digipak? Doesn't work.
    >
    > On the other side, everything they do (including handling your =
orders
    > and providing a web shop where your fans can order your CDs at a =
price
    > set by you) is free except for the cost to you of $1.75 per CD.
    >
    > Basically, if you can live with the limitations (and the most
    > challenging ones for me are the package limitations), it allows =
for a
    > really extremely simple business plan. The only pre production =
costs
    > you have are the time you spend to compile your album and its =
artwork,
    > put it into the format they like and use their software to =
transfer
    > it. Starting from that point, your total income per CD is the
    > difference of price you set in their webshop minus $1.75 for the =
sales
    > you do from their webshop, or your selling price minus 1.75$ and
    > pro-rata shipping costs (for those you sell e.g. at concerts).
    >
    > They also dropship to amazon and CDbaby at no additional cost.
    >
    >            Rainer
    >
    >=20

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<DIV><FONT face=3DArial size=3D2>CD-Rs. But they are sliver bottomed and =
no one ever=20
suspects they are CD-R, nor have I have&nbsp;had any major issues with =
their=20
quality. &nbsp;I stopped making glass mastered after my first CD. Unless =
I'm=20
selling thousands of CDs, I consider it a waste of time. The new CD-Rs =
that=20
these manufacturers are making these days are a lot better quality than =
those=20
made in the past. </FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Kris</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><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
  <DIV>hi,</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>i was wondering if kunaki produces cd-r's or glass mastered =
cds?</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>best.</DIV>
  <DIV>&nbsp;</DIV>
  <DIV>Erdem Helvacioglu<BR><A=20
  =
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
  =
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
  * * * * * * * * * * * * * * * * * * *<BR>"Wounded Breath" album is out =
now on=20
  Aucourant Records:<BR><A=20
  =
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23</A><BR>=
</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=3Dinfo@krispenhartung.com=20
    href=3D"mailto:info@krispenhartung.com">Krispen 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, December 30, =
2008 10:23=20
    PM</DIV>
    <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: kunaki (was: =
What does it=20
    mean to you, to "release a record"?)</DIV>
    <DIV><BR></DIV>Exellent description, Rainer. I am a huge fan of =
Kunaki, and=20
    now have 14 CDs <BR>and 3 DVDs published using the=20
    service.<BR><BR>Kris<BR>----- Original Message ----- =
<BR><BR><BR>&gt; Mark=20
    said:<BR>&gt; "whats this Kunaki.com thing.. gonna check after=20
    this..."<BR>&gt;<BR>&gt; Kunaki is a service which makes CDs and =
DVDs (I'll=20
    only focus on the<BR>&gt; CD part here). There is no initial setup =
cost, and=20
    there is a fixed<BR>&gt; price of $1.75 per CD, independently of the =
number=20
    of units ordered in<BR>&gt; one go or over lifetime.<BR>&gt; There =
are some=20
    downsides - to qoute their website's FAQ: "Kunaki<BR>&gt; operates =
more like=20
    a machine than a business and does not offer a<BR>&gt; personalized =
service.=20
    [...] Because Kunaki is highly automated and<BR>&gt; focused on =
quality, low=20
    price, and fast production, we offer a minimal<BR>&gt; range of=20
    options."<BR>&gt;<BR>&gt; That's the biggest downside. The only =
option is a=20
    jewel case with<BR>&gt; black tray and 2-page booklet (everything =
printed in=20
    coulor).<BR>&gt; Another downside (for some) is that there are very =
specific=20
    rules and<BR>&gt; a very specific flow for supplying your CD =
content. You=20
    use their<BR>&gt; custom configuration software. It reads the data =
from a CD=20
    in your<BR>&gt; computer, then you select several image documents =
(TIFF 8bit=20
    RGB, NOT<BR>&gt; 16bit like it says on their website), also within =
the=20
    software, and<BR>&gt; the software handles uploading data to their =
site.=20
    Want to give them a<BR>&gt; WAV file and replication report instead? =
Doesn't=20
    work. Want to use<BR>&gt; prepress PDFs? Doesn't work. Want a =
transparent=20
    jewel case, four-page<BR>&gt; booklet, slim case or digipak? Doesn't =

    work.<BR>&gt;<BR>&gt; On the other side, everything they do =
(including=20
    handling your orders<BR>&gt; and providing a web shop where your =
fans can=20
    order your CDs at a price<BR>&gt; set by you) is free except for the =
cost to=20
    you of $1.75 per CD.<BR>&gt;<BR>&gt; Basically, if you can live with =
the=20
    limitations (and the most<BR>&gt; challenging ones for me are the =
package=20
    limitations), it allows for a<BR>&gt; really extremely simple =
business plan.=20
    The only pre production costs<BR>&gt; you have are the time you =
spend to=20
    compile your album and its artwork,<BR>&gt; put it into the format =
they like=20
    and use their software to transfer<BR>&gt; it. Starting from that =
point,=20
    your total income per CD is the<BR>&gt; difference of price you set =
in their=20
    webshop minus $1.75 for the sales<BR>&gt; you do from their webshop, =
or your=20
    selling price minus 1.75$ and<BR>&gt; pro-rata shipping costs (for =
those you=20
    sell e.g. at concerts).<BR>&gt;<BR>&gt; They also dropship to amazon =
and=20
    CDbaby at no additional=20
    =
cost.<BR>&gt;<BR>&gt;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs=
p;&nbsp;&nbsp;=20
    Rainer<BR>&gt;<BR>&gt; <BR></BLOCKQUOTE></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_0432_01C96A95.815DA880--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 22:44:59 2008
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From: richard sales <richard@glasswing.com>
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Subject: Re: New Software Looper
Date: Tue, 30 Dec 2008 14:44:56 -0800
References: <477dfd520812301305v2ca5d3ev5b659aea6a78334b@mail.gmail.com> <E3BAAE10-9719-4D28-BE8E-52957131F294@zoekeating.com>
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Very cool stuff!

R

On Dec 30, 2008, at 1:59 PM, info at zoekeating wrote:

> neat! thanks, i'm going to check this out.
> curious when the MIDIum will be released too.
>
> best, zoe
>
>
> On Dec 30, 2008, at 1:05 PM, Lasse juul Kolding wrote:
>
>> Dear fellow loopers,
>>
>> A quick annoucement to tell you about a new looping software called  
>> "Syncopath Performer" ready for download.
>>
>> It is 100% Free as a VST for Windows and Intel Mac.
>>
>> The current version is called 1.0Beta and so far appears very solid  
>> - especially on Mac where there's currently no known bugs!
>> It is made with MIDI controllers like the FCB1010 in mind and is  
>> fully controlled via MIDI.
>> It has basically perfect synchronization as both Master and Slave  
>> of the Host environment (the testing software has primarilly been  
>> Ableton Live 7).
>>
>> For more information head over to:
>>
>> Http://www.juvul.com
>>
>> Download links for both Windows and Intel Mac are available.
>>
>> Happy Holidays! :)
>>
>> Lasse
>>
>

richard sales
www.glasswing.com
www.richardsales.com
www.hayleysales.com







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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Very cool =
stuff!<div><br></div><div>R</div><div><br><div><div>On Dec 30, 2008, at =
1:59 PM, info at zoekeating wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div =
style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; "> neat! thanks, i'm going to =
check this out.<div>curious when the MIDIum will be released =
too.</div><div><br></div><div>best, =
zoe</div><div><br></div><div><br></div><div>On Dec 30, 2008, at 1:05 PM, =
Lasse juul Kolding wrote:<div><div><div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite">Dear =
fellow loopers,<br><br>A quick annoucement to tell you about a new =
looping software called "Syncopath Performer" ready for =
download.<br><br>It is 100% Free as a VST for Windows and Intel =
Mac.<br><br>The current version is called 1.0Beta and so far appears =
very solid - especially on Mac where there's currently no known =
bugs!<br> It is made with MIDI controllers like the FCB1010 in mind and =
is fully controlled via MIDI.<br>It has basically perfect =
synchronization as both Master and Slave of the Host environment (the =
testing software has primarilly been Ableton Live 7).<br> <br>For more =
information head over to:<br><br><a =
href=3D"Http://www.juvul.com">Http://www.juvul.com</a><br><br>Download =
links for both Windows and Intel Mac are available.<br><br>Happy =
Holidays! =
:)<br><br>Lasse<br><br></blockquote></div><br></div></div></div></div></bl=
ockquote></div><br><div apple-content-edited=3D"true"> <span =
class=3D"Apple-style-span" style=3D"border-collapse: separate; color: =
rgb(0, 0, 0); font-family: Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; font-style: normal; font-variant: normal; =
font-weight: normal; letter-spacing: normal; line-height: normal; =
orphans: 2; 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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">richard sales</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

--Apple-Mail-7--1033174164--

From Loopers-Delight-request@loopers-delight.com  Tue Dec 30 23:48:32 2008
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Subject: Beer Budget CD Release Strategy  as an Alternative to The Way It's
 Normally Done
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The limitations of Kunaki (lack of control over packaging, et. al.),  as 
cool a service as it is
are one of the reasons why I do everything for my own releases.

It takes more time, but artistically,  I'm really happy being able to 
control the
minimal artwork that I do.

My costs?     Printing Ink on a good color printer?      An interesting 
looking
colorful Clamshell  or custom CD holder,  the label,    and the CDR.

Some people are suspicious of CDRs, but I find that if you do really 
creative
and artistic packaging............something I love to do on a minimal basis
that people will accept them (with the exception of in Japan where they
were rejected by fans, hands down , oddly enough).

It's funny, too.........................you either duplicate the digital 
media yourself
or you have someone mass duplicate it....................it seems 
ridiculous
that people draw a distinction.

Even if you dont' have digital artistic chops (and I have precious few 
myself)
I've seen local groups just use paper bags and do hand colored artwork
so that each one is different.............it still feels special to buy 
one of these
(just because it's so obviously artistic and creatively inspired if low 
budget and even silly).

Anyway,   This keeps my cost down to well under a dollar per unit. If I 
do sell a CD then
I am making $9 - $14 profit PER CD depending on who buys it.

I am currently considering making a business card with all the 
information in the
CD and links to websites and bonus tracks and then having it professionally
drilled so after one takes out the CD (with attendant artwork)  there 
will be
this CD underneath with all the goodies in it.

In that way, I can use the tranparent nature of the CD case to show off
artwork that is only on the CD itself (no booklet, in other words).

It's definitely Champagne living on a Beer Budget but it works for me.

Also,  one thing that noone has mentioned that is really salient in this 
discussion is
that no one is buying CDs anymore.............or rather,  CD sales have 
dropped
to nearly nothing.  I"ve asked artist after artist in 15 countries how 
their sales are
and the lion share say that no one is buying them.

I used to average 20-50 CDs a concert at one point and now I frequently 
don't even
take them.  I do hand out business cards (that are quite 
professional---two sided with nice photographic
artwork on both sides)  and get some sales from people after the fact.

I look at the CD, however,   as a very, very elaborate business card.
I give them away liberally if I think someone may hire me for something 
and it works like a charm

It seems that music is heading toward a service provision orientation as 
opposed to a commodity orientation.

I make most of my money now, peripherally to my artwork, but DEFINITELY 
because my reputation is
enhance BY THE ARTWORK.       See what I mean  (sorry for the 
shouting................lol)

Whatever is said and done................putting a lot of energy into 
'putting your art out to the world' 
is a really good thing no matter where you are in the 'music biz'.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 00:24:46 2008
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Date: Wed, 31 Dec 2008 01:24:43 +0100
From: "Lasse juul Kolding" <dubbilan@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: New Software Looper
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Thanks a lot!

MIDIum will be released in a "near future".
My brother and I are working steadily on it with as much free time we have.

All comments are more than welcome :)

Lasse



On Tue, Dec 30, 2008 at 11:44 PM, richard sales <richard@glasswing.com>wrote:

> Very cool stuff!
> R
>
> On Dec 30, 2008, at 1:59 PM, info at zoekeating wrote:
>
> neat! thanks, i'm going to check this out.curious when the MIDIum will be
> released too.
>
> best, zoe
>
>
> On Dec 30, 2008, at 1:05 PM, Lasse juul Kolding wrote:
>
> Dear fellow loopers,
>
> A quick annoucement to tell you about a new looping software called
> "Syncopath Performer" ready for download.
>
> It is 100% Free as a VST for Windows and Intel Mac.
>
> The current version is called 1.0Beta and so far appears very solid -
> especially on Mac where there's currently no known bugs!
> It is made with MIDI controllers like the FCB1010 in mind and is fully
> controlled via MIDI.
> It has basically perfect synchronization as both Master and Slave of the
> Host environment (the testing software has primarilly been Ableton Live 7).
>
> For more information head over to:
>
> Http://www.juvul.com
>
> Download links for both Windows and Intel Mac are available.
>
> Happy Holidays! :)
>
> Lasse
>
>
>
> richard sales
> www.glasswing.com
> www.richardsales.com
> www.hayleysales.com
>
>
>
>
>
>
>

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Thanks a lot!<br><br>MIDIum will be released in a &quot;near future&quot;.<br>My brother and I are working steadily on it with as much free time we have.<br><br>All comments are more than welcome :)<br><br>Lasse<br><br><br>
<br><div class="gmail_quote">On Tue, Dec 30, 2008 at 11:44 PM, richard sales <span dir="ltr">&lt;<a href="mailto:richard@glasswing.com">richard@glasswing.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div style="">Very cool stuff!<div><br></div><div>R</div><div><div><div></div><div class="Wj3C7c"><br><div><div>On Dec 30, 2008, at 1:59 PM, info at zoekeating wrote:</div><br><blockquote type="cite"><div style=""> neat! thanks, i&#39;m going to check this out.<div>
curious when the MIDIum will be released too.</div><div><br></div><div>best, zoe</div><div><br></div><div><br></div><div>On Dec 30, 2008, at 1:05 PM, Lasse juul Kolding wrote:<div><div><div><br><blockquote type="cite">Dear fellow loopers,<br>
<br>A quick annoucement to tell you about a new looping software called &quot;Syncopath Performer&quot; ready for download.<br><br>It is 100% Free as a VST for Windows and Intel Mac.<br><br>The current version is called 1.0Beta and so far appears very solid - especially on Mac where there&#39;s currently no known bugs!<br>
 It is made with MIDI controllers like the FCB1010 in mind and is fully controlled via MIDI.<br>It has basically perfect synchronization as both Master and Slave of the Host environment (the testing software has primarilly been Ableton Live 7).<br>
 <br>For more information head over to:<br><br><a href="Http://www.juvul.com" target="_blank">Http://www.juvul.com</a><br><br>Download links for both Windows and Intel Mac are available.<br><br>Happy Holidays! :)<br><br>Lasse<br>
<br></blockquote></div><br></div></div></div></div></blockquote></div><br></div></div><font color="#888888"><div> <span style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><div style="">
<span style="border-collapse: separate; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 18px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><div style="">
<span style="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; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><div style="">
<span style="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; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;"><div style="">
<div><font face="Arial">richard sales</font></div><div><font color="#908e38"><a href="http://www.glasswing.com" target="_blank">www.glasswing.com</a></font></div><div><font color="#908e38"><a href="http://www.richardsales.com" target="_blank">www.richardsales.com</a></font></div>
<div><font color="#908e38"><a href="http://www.hayleysales.com" target="_blank">www.hayleysales.com</a></font></div><div><br></div></div></span><br></div></span><br></div></span><br></div></span><br> </div><br></font></div>
</div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 01:05:15 2008
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Subject: Re: Beer Budget CD Release Strategy  as an Alternative to The Way It's Normally Done
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----- Original Message ----- 
From: "Rick Walker"

> It's funny, too.........................you either duplicate the digital 
> media yourself or you have someone mass duplicate it....................it 
> seems ridiculous that people draw a distinction.

I think we have had this discussion before, but the main distiction for me, 
Rick, is time and quality. Even with a high quality color laser jet, which I 
have in my office, I can't reproduce the quality of Kunaki with my home made 
versions. Not a chance, especially the art on the CD face. Second, for me, 
time is money and creating my own CDs, I hate to say it, feels like 
administration work that should be outsourced.  :) I refuse to print out 
labels and package my own CDs.  I'd rather be playing, and with the shortage 
of time that I have with a full time job, family, performing, festivals, 
other hobbies, etc...creating my own CDs is about 100th on the list of 
priorities. If I have time to do that, then I'm not playing enough, bottom 
line. Making homemade CDs for me, is like changing my own oil.  I refuse to 
do it, given how cheap and easy it is to pay someone to do it.

> Also,  one thing that noone has mentioned that is really salient in this 
> discussion is > that no one is buying CDs anymore.............or rather, 
> CD sales have dropped> to nearly nothing.  I"ve asked artist after artist 
> in 15 countries how their sales are
> and the lion share say that no one is buying them.

I know, it is depressing, but totally predicable.  Current research, at 
least the graphs, charts, and figures I saw six monthsa go, shows that the 
process that led to the replacement of vinyl and cassettes by CDs is now 
occuring between CDs and MP3s, and that in the next decade, CD sales will be 
be down to almost nothing...not worth marketing or selling by any record 
company.   So keep your CDs, because they will be collector's items in about 
15-20 years! Mabye not... So, the new thing, whether we like it or not, is 
on the way. I think it is going to be something more than MP3, but a new and 
radical way of packaging an artist digitally, into MP3s, video, bios, 
bi-directional communication, promo, 3D, holographs, user interaction, etc.

But then again, I just saw an article that vinyl sales are up, and CD sales 
down! Crazy. Wouldn't that be cool if we went back to vinyl. I would love to 
have that much space for artwork, etc.

Kris


Kris

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 01:11:42 2008
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I can remember making my own homemade CDs and sleeves in the basement for 
hours at a time, and my wife finally asked, "Are you completely insane?!" 
She said just find a service that will do it for you, and deal with the 
compromise of not being to design the thing exactly like you want to. 
Kunaki was the answer.  The payback in time is priceless, imo.  / K 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 01:53:43 2008
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Subject: WHAT STOMP BOXES ARE YOU IN LOVE WITH?     was  distortion,f  overdrive,
 fuzz, crunc
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I'm just in love with stomp boxes lately.
I'm curious,   what setups are you all using these days?

WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
ARE YOU IN LOVE WITH, LATELY?

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

As for me,  lately I've  been playing my nephew's beautiful vintage 
Gibson Les Paul
(a guitar I could never even dream of owning but one that is on long 
term loan to me,
thank heavens)  through my Zvex Fuzz Factory,  an Alesis Bit-R-Man (falling
in love with that pedal again after not having used it for a long 
time),  Miko B's
really nice Wah Wah pedal and one of the great undiscovered deals in all
stomp box pedaldom-----the Danelectro Chili Dog,  which kicks ass on the
Boss Octaver.........more on that in  a second.

All of this I'm either running through my little Fender Tube Champ amp 
(steal of the
year at $120 at the flea market) or through my old Peavey bass cabinet 
(if I"m playing bass)
and tuning my guitar to DDDFDD.     I"m tuning by ear and letting all 
the D's be a tiny
bit out of tune with each other..............I mean a tiny 
bit........just enough to give it some
delicious faux chorusing effects that sound more,  well, 'organic' than 
a chorus pedal.

I'm finding that having mostly the same note let's all the 
distortion/fuzz algorithms
have less to play with in a musical way...............it's noisy as hell
but still very melodic..............really nice to manipulate a single
feeding back tone with the Electrix Repeaters pitch/stretch algorithms.

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

For years,  and especially when my wife was playing electric in 
Lackadaisy,  I scoured the local
flea market every week for random stomp box pedals that I purchased for 
$5 to no more than
$20.     I really have a nice collection of typical and sometimes really 
weird stomp boxes amassed
over the years without ever having spent very much money to buy them 
(lol,  until my
$175 Zvex splurge of late).

One pedal I got that I just didn't like was an old Boss FT-2 Dynamic Filter.
I'm not a fan of T-wah and Envelope follower sounds so I filed that one 
for a rainy day but
one day,  my brother hipped me to the fact that it has an expression 
pedal jack.

This means I can use it the way Miko B was saying he used his Wah Wah 
pedal................as
a very subtle manipulater of timbre as opposed to a typical wow wow kind 
of sound.

The cool thing about the Dynamic Filter is that it can sweep all the 
frequencies so it sounds
different than the few wahs I've heard.

Sooooo,  I"m in noise heaven lately......................just really 
enjoying myself and playing
ridiculously simply because the timbre is so gigantic.

Just guitar and a throbbing drumset.............................a lot 
can be done.

******

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 01:53:53 2008
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 fuzz, crunc
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I was reading that Merzbow uses both a DOD FX33 Buzz Box and a DOD Meatbox
in his rig.

I've had a Meatbox for years............it's a fabulous pedal for really 
gnarly bass distortion.

Reading reviews of the DOD FX33 Buzz Box,   one person said that it is
the single noisiest pedal he's ever owned;  completely useless for 
melodic guitar playing
but essential for his noise music.

Anyone owned one on this list?   I"m fascinated to hear what it does.

Other reviews say that it is the most 'out of control'  distortion unit 
that they've ever
heard......................I have to say,   that turned me on to read.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 01:58:29 2008
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Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH?     was  distortion,f
 overdrive, fuzz, crunc
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I've just been going from Gibson SG to Tube Works overdrive to VOX practice 
amp w/grit on.  I haven't been that into effects for awhile.  I do love my 
Whammy pedal and my EH Micro-Synth.

t
----- Original Message ----- 
From: "Rick Walker" <looppool@cruzio.com>
To: "LOOPERS DELIGHT (posting)" <Loopers-Delight@loopers-delight.com>
Sent: Tuesday, December 30, 2008 5:53 PM
Subject: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, 
fuzz, crunc


>I was reading that Merzbow uses both a DOD FX33 Buzz Box and a DOD Meatbox
> in his rig.
>
> I've had a Meatbox for years............it's a fabulous pedal for really 
> gnarly bass distortion.
>
> Reading reviews of the DOD FX33 Buzz Box,   one person said that it is
> the single noisiest pedal he's ever owned;  completely useless for melodic 
> guitar playing
> but essential for his noise music.
>
> Anyone owned one on this list?   I"m fascinated to hear what it does.
>
> Other reviews say that it is the most 'out of control'  distortion unit 
> that they've ever
> heard......................I have to say,   that turned me on to read.
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 02:36:46 2008
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From: "Tony K" <bigtonyk@gmail.com>
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Subject: RE: New Software Looper
Date: Tue, 30 Dec 2008 21:36:42 -0500
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Do I need the full version of Pluggo to run it? Or can I just get the Pluggo
runtime?

 

Tony

 

From: Lasse juul Kolding [mailto:dubbilan@gmail.com] 
Sent: Tuesday, December 30, 2008 4:05 PM
To: Loopers-Delight@loopers-delight.com
Subject: New Software Looper

 

Dear fellow loopers,

A quick annoucement to tell you about a new looping software called
"Syncopath Performer" ready for download.

It is 100% Free as a VST for Windows and Intel Mac.

The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there's currently no known bugs!
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.
It has basically perfect synchronization as both Master and Slave of the
Host environment (the testing software has primarilly been Ableton Live 7).

For more information head over to:

Http://www.juvul.com

Download links for both Windows and Intel Mac are available.

Happy Holidays! :)

Lasse

No virus found in this incoming message.
Checked by AVG - http://www.avg.com
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
10:48 AM


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<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Do I need the full version of Pluggo to run it? Or can I =
just
get the Pluggo runtime?<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'>Tony<o:p></o:p></span></p>

<p class=3DMsoNormal><span =
style=3D'font-size:11.0pt;font-family:"Calibri","sans-serif";
color:#1F497D'><o:p>&nbsp;</o:p></span></p>

<div style=3D'border:none;border-top:solid #B5C4DF 1.0pt;padding:3.0pt =
0in 0in 0in'>

<p class=3DMsoNormal><b><span =
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'>From:</span>=
</b><span
style=3D'font-size:10.0pt;font-family:"Tahoma","sans-serif"'> Lasse juul =
Kolding
[mailto:dubbilan@gmail.com] <br>
<b>Sent:</b> Tuesday, December 30, 2008 4:05 PM<br>
<b>To:</b> Loopers-Delight@loopers-delight.com<br>
<b>Subject:</b> New Software Looper<o:p></o:p></span></p>

</div>

<p class=3DMsoNormal><o:p>&nbsp;</o:p></p>

<p class=3DMsoNormal style=3D'margin-bottom:12.0pt'>Dear fellow =
loopers,<br>
<br>
A quick annoucement to tell you about a new looping software called
&quot;Syncopath Performer&quot; ready for download.<br>
<br>
It is 100% Free as a VST for Windows and Intel Mac.<br>
<br>
The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there's currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.<br>
It has basically perfect synchronization as both Master and Slave of the =
Host
environment (the testing software has primarilly been Ableton Live =
7).<br>
<br>
For more information head over to:<br>
<br>
<a href=3D"Http://www.juvul.com">Http://www.juvul.com</a><br>
<br>
Download links for both Windows and Intel Mac are available.<br>
<br>
Happy Holidays! :)<br>
<br>
Lasse<o:p></o:p></p>

<p><span style=3D'font-size:10.0pt;font-family:"Arial","sans-serif"'>No =
virus
found in this incoming message.<br>
Checked by AVG - http://www.avg.com<br>
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: =
12/29/2008
10:48 AM</span><o:p></o:p></p>

</div>

</body>

</html>

------=_NextPart_000_0004_01C96AC6.B5B55AC0--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 02:50:02 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: catching up: cd discussion
Date: Tue, 30 Dec 2008 18:43:59 -0800
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hi loopers,
at long last i am at home! i've essentially been away since september  
(i say essentially because i flew home for a week in there to vote).  
i did a 6 week european tour with amanda palmer (highlight: imogen  
heap's roast chicken, edinburgh punk rock breakfast), some time with  
a ballet in valencia (highlight: the fish market, chocolate and  
churros), a north american tour again with amanda (highlight: group  
cooking at neil gaiman's), and then spent the holidays with family on  
the east coast (highlight: blizzard).

throughout all of this the ableton/sooperlooper combo has worked  
amazingly, as has the modified FCB pedal made by bob charest.

i have one last performance of the year...at SFO. dec 31st from 11am  
to 2pm.
pre-security on the mezzanine of terminal 1.
"cello for airports" i'm calling it.

i see a HECK OF A LOT of emails here in my loopers box! in skimming  
the latest discussion started by George (re: putting out CDs) i  
thought i'd chime in.

my opinion: put out a CD!

"album" = a collection of related recordings; a snapshot of where one  
is, right now, as an artist.
i guess you can put out a CD and not have to call it an album but it  
seems like the 2 are used interchangeably.

creating a single recording, from start to finish, is a fulfilling  
artistic endeavor in and of itself. that's the primary thing.  and  
whether those recordings exist as physical cds or mp3s, doesn't  
matter (just a difference in format and delivery). a CD happens to be  
convenient way to hold together a collection of recordings, and the  
metadata of a CD allows digital instances of recordings to be  
conveniently grouped. some people seem to cherish the physical  
packaging of a CD, others could care less.

promo:
i don't believe amateur promo works only because its never worked for  
me (which isn't to say it doesn't work). no publication or record  
label has ever responded to anything i have ever sent them. i think  
this is because everyone is already swamped by beautifully put  
together promo kits.
what i think works: you need people to be recommending you and your  
work. you need to become omnipresent.
how? well, if you're young and hot, you might become omnipresent  
overnight on the internet.
for the rest of us it takes years of long and maddeningly slow  
growth, and it requires being bloody minded, stubborn and undaunted  
by constant rejection.
then, record labels will write to you with offers...and you can  
ignore them and carry on (DON'T DO IT)

printing:
think about your work and what it means and if you're artistic,  
design your own packaging.
if you're not, hire a graphic designer.
i favor digipaks over icky jewel cases. i would rather have homemade  
packaging than a jewel case.
discmakers and oasis have always worked for me.

thoughts on selling music:
i would make recordings even if i didn't make a cent off them but it  
just so happens that selling physical cds (off my website and at  
shows) and mp3s (on itunes) has been steady and lucrative my entire  
career. however, i realize that might be because i didn't get started  
at this until AFTER filesharing (2002). so as a result, i've never  
personally experienced the sales decline lamented in the press. (i've  
worked with many bands who started in the 90's who have experienced  
the decline though - i.e. rasputina). if my career had started  
earlier maybe i would have experienced more physical sales and then  
watched them decline when filesharing came around. but then again, if  
my career had started earlier the internet would not have been around  
and i wouldn't be in the position i am now (i.e. without a label and  
happy about it).

other observations:
it doesn't hurt to think about who might like your music and then  
figure out where those people are and how to reach them.

in my experience, different audiences are more or less likely to buy  
a recording (either physical or digital). for example, roughly  
speaking NPR listeners buy my music. students find it for free (seems  
logical...i didn't buy music either until i was in my 20s, because i  
was broke. i was always copying cd collections of wealthier friends).

if your targeted audience doesn't think music is worth buying (and  
demographics favors them) then you need a few strategies to get them  
out to your shows where they will buy your merch.

i am an optimist and take comfort in the fact that america is really  
big. even if you sell recordings to a miniscule fraction of the  
national populace, you can do pretty darn well if you stay  
independent. if you sign to a label, things might be great for a  
little while, but then the problems will begin...

sorry to be so long winded,

zoe






From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 02:51:29 2008
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From: info at zoekeating <info@zoekeating.com>
Subject: Re: Beer Budget CD Release Strategy  as an Alternative to The Way It's Normally Done
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i love this phrase rick.

sums me up!

On Dec 30, 2008, at 3:48 PM, Rick Walker wrote:

> Champagne living on a Beer Budget


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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
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i love this phrase rick.=A0<div><br></div><div>sums me =
up!<div><br><div><div>On Dec 30, 2008, at 3:48 PM, Rick Walker =
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"Lucida Grande" size=3D"3" style=3D"font: 12.0px Lucida =
Grande">Champagne living on a Beer Budget</font></p> =
</blockquote></div><br></div></div></body></html>=

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 03:18:11 2008
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Is anyone else on the list playing on the electro-music thang tonight?
http://electro-music.com/forum/topic-22830.html

I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)

Stephen Goodman
*
http://www.vimeo.com/spgoodman
http://www.last.fm/music/Stephen+Goodman

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 03:27:12 2008
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Subject: a new kind of meeting / Matthias and Jon at Loopstock video
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youhou !
I finally managed to upload the little video of Jon Wagner and me at  
Loopstock 2002 to
http://youtube.com/matigrob
The VHS did not run quite at the same speed as the DAT recording, but  
I adjusted and mixed the two and compressed the line recording since  
the camera also compressed the mic recording...
the 10min limit did not help much... if you want to hear the whole  
piece, but edited: http://matthias.grob.org/pMusic/CDsE.htm - called  
"the main part"

I claim its **the first video of a synced livelooping act**. Please  
correct me if I am wrong!


when searching for loopstock files, I found this mail I wrote in the  
air plane on the way to CA. I re-post it here because it the emotions  
about this meeting. Its not just that we all met for the first time  
physically (lots of: "oh, you are that one, what a pleasure!", I only  
had met Kim before!), but it was not even quite clear why we made all  
that effort... but we felt great!

Matthias wrote in Feb 28, 2002:
I am flying over the wast snowy US, full of expectations for new  
experiences. I have only been twice to US for a longer time:
A raft trip down the Mississippi and hippy car travel to SF in '81  
(where I had my first grass flash at Height street!)
A month at Gibson lab in '93 to update the LOOP delay to the Echoplex  
(thats when I met Kim).
This time will be much different again, since I have the guitar with me.
... and I let the thoughts come:

There have been congresses about any kind of subject, where  
information is exchanged through speech and text.
There have been religious meetings to celebrate rituals of all kinds.
There have been concerts, festivals, where fans of some style  
appreciated it together.
There have been workshops, where practical knowledge has been taught  
in more or less free forms.

But have you heard of a meeting of users of a new technology or style?
Did the saxophone players meet in the 40ies to show the wide  
application of it to each other? Or the synthesizer players in the  
60/70ies?
Or have you heard that musicians of some style met in a bigger number  
in a organized way to exchange their music and tricks?

What is it that looping has to call for such meetings?
Its not just now that it started. I don't know about the history,  
please complete here.
I had that vision from the very start and in 1992, on the first flyer  
about the LOOP delay, I suggested the foundation of:
"LOOPGROOP, Forum for Loopology and repetitive happenings".

In '95, I started the first project to exchange tapes, which was not a  
success (since I was too far away and I am not a talent in organizing  
such things) but the tapes sent in ended up on the first Loopers- 
Delight CD.
Only Kim and the internet made the exchange possible, and if you read  
back the first postings to LD, you don't see "nice that there is a  
place now where I can ask how to connect my equipment" but: .......
Then more CDs, the CT project, Loop festivals kept naturally  
happening, initiated by many different people. So its not like a  
religion that starts due to the inspiration of a guru, but due to the  
"thing" that makes us invest time and efforts into a community. Its as  
if we did believe in something that grows.

Sure, the Rastas believe in Reggae, but first of all they believe in  
Jah, so its not the music that makes them meet. Country music has some  
background with cows and hats and trucks that I don't understand much  
about, but is definitely a lifestyle. Similar observations can be made  
about all musical styles, but not about looping, so far, or could you?
Even newer styles like techno, that also started as an anarchistic  
movement have a distinct beat and sound (and drug ;-), which is not  
the case at all for the loopers community.

So I am wondering more and more what the "thing" in looping is.
Do you believe in loops? Sounds silly.
Do you believe in the Echoplex? Sounds even more silly.
Do you believe in Reilly, Fripp, Glass,,, Some may do so, but since  
those idols sound very different, its not what makes the meetings  
happen.
Are there leaders to the group? There are always people that have  
thought and experienced more than others, so we listen better to what  
Richard Z, DT, Kim,,,  says, but if anyone of those would ask you to  
do a certain thing, you would laugh out loud, so they have no power,  
the whole movement is anarchistic!

Maybe its about improvising. Looping definitely gives a new dimension  
to it.
Then again, some of the best works are not improvised...

Gary Hall got me from the air port and said more or less:
"Its an approach to composition based on interaction between the  
musician and the processing."

We may have discussed it enough. There is no need for a conclusion, we  
just do what we feel is right and enjoy and learn and grow...

I just wanted to say that I am extremely exited about being here in  
CA ! :-)
See you soon!
Matthias
-- 


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

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 03:48:44 2008
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Date: Wed, 31 Dec 2008 04:48:41 +0100
From: "Lasse juul Kolding" <dubbilan@gmail.com>
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Subject: Re: New Software Looper
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Hi Tony,

I ought to specify that on the website yes.
I have not tested it with Pluggo Runtime, but that is what it's for so it
should work!
Let me know... :)

Lasse


On Wed, Dec 31, 2008 at 3:36 AM, Tony K <bigtonyk@gmail.com> wrote:

>  Do I need the full version of Pluggo to run it? Or can I just get the
> Pluggo runtime?
>
>
>
> Tony
>
>
>
> *From:* Lasse juul Kolding [mailto:dubbilan@gmail.com]
> *Sent:* Tuesday, December 30, 2008 4:05 PM
> *To:* Loopers-Delight@loopers-delight.com
> *Subject:* New Software Looper
>
>
>
> Dear fellow loopers,
>
> A quick annoucement to tell you about a new looping software called
> "Syncopath Performer" ready for download.
>
> It is 100% Free as a VST for Windows and Intel Mac.
>
> The current version is called 1.0Beta and so far appears very solid -
> especially on Mac where there's currently no known bugs!
> It is made with MIDI controllers like the FCB1010 in mind and is fully
> controlled via MIDI.
> It has basically perfect synchronization as both Master and Slave of the
> Host environment (the testing software has primarilly been Ableton Live 7).
>
> For more information head over to:
>
> Http://www.juvul.com
>
> Download links for both Windows and Intel Mac are available.
>
> Happy Holidays! :)
>
> Lasse
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
> 10:48 AM
>

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Hi Tony,<br><br>I ought to specify that on the website yes.<br>I have not tested it with Pluggo Runtime, but that is what it&#39;s for so it should work!<br>Let me know... :)<br><br>Lasse<br><br><br><div class="gmail_quote">
On Wed, Dec 31, 2008 at 3:36 AM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com">bigtonyk@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">









<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Do I need the full version of Pluggo to run it? Or can I just
get the Pluggo runtime?</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Tony</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;">

<p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> Lasse juul Kolding
[mailto:<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>] <br>
<b>Sent:</b> Tuesday, December 30, 2008 4:05 PM<br>
<b>To:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Subject:</b> New Software Looper</span></p>

</div><div><div></div><div class="Wj3C7c">

<p>&nbsp;</p>

<p style="margin-bottom: 12pt;">Dear fellow loopers,<br>
<br>
A quick annoucement to tell you about a new looping software called
&quot;Syncopath Performer&quot; ready for download.<br>
<br>
It is 100% Free as a VST for Windows and Intel Mac.<br>
<br>
The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there&#39;s currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.<br>
It has basically perfect synchronization as both Master and Slave of the Host
environment (the testing software has primarilly been Ableton Live 7).<br>
<br>
For more information head over to:<br>
<br>
<a href="Http://www.juvul.com" target="_blank">Http://www.juvul.com</a><br>
<br>
Download links for both Windows and Intel Mac are available.<br>
<br>
Happy Holidays! :)<br>
<br>
Lasse</p>

</div></div><p><span style="font-size: 10pt;">No virus
found in this incoming message.<br>
Checked by AVG - <a href="http://www.avg.com" target="_blank">http://www.avg.com</a><br>
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
10:48 AM</span></p>

</div>

</div>


</blockquote></div><br>

------=_Part_77237_15516640.1230695321742--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 05:17:32 2008
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Date: Tue, 30 Dec 2008 21:17:30 -0800
From: "Art Simon" <simart@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
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Is anyone out there doing vinyl releases? What would it take to do a
small vinyl production run?

-- 
Art Simon
simart@null.net
myspace [dot] com/artsimon

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 05:44:15 2008
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Date: Tue, 30 Dec 2008 21:37:37 -0800
From: "Matt Davignon" <mattdavignon@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: What does it mean to you, to "release a record"?
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George Ludwig was like,
>In the digital age, what is your standard procedure, as an independent
>artist, to "release an album"? Where do you send it for review? What
>kind of promo kit do you put together? Do you bother having it physically
>duplicated? Etc?

This is one of my favorite musical discussion topics.

As Zoe mentioned, I feel very strongly that an "album" is a carefully
prepared, sculpted and intentional "artist statement". That collection
of 10 or so songs will become your identity as an artist for everyone
who doesn't personally know you. For that reason, it's important not
to turn everything you've recorded into a cd release. It's better to
critically listen to your own music, figure out what is the "cream of
the crop", and find a way to turn it into a cohesive whole that's 40
to 60 minutes (not 80 minutes) long. During the entire process, you
should be willing to cross out songs that are only 80% good, or songs
that simply don't fit well with the others. Yes, this applies even if
you make "non conformist" music.

I personally dislike the idea of a cd as a "document of where the
artist is at this year", or a collection of the most recent 60 minutes
of music the artist has recorded. Over the course of your musical
career, it's much better to release 4 cds that are 100% excellent than
it is to release 14 cd's that are 70% good.

Now, to answer George's actual questions:
To my experience, most reviewers/blogs/radio stations don't pay much
attention to a web-released cd unless there is an actual cd to go
along with it. (Exceptions may apply if you're Radiohead or Nine Inch
Nails.) Frankly I don't blame them - there are too many people who are
into "release everything" when it comes to their music, and that tends
to bring the changes down of finding a quality album. At least with a
physical cd, you know that someone felt passionate about the music to
invest some money into it.

Also, if I was a reviewer, I'd probably be less likely to listen to
anything that comes from CD Baby or any of those other sites that
cater to people who are less serious about their cd releases.

Many cd manufacturers are aware of the transitions to mp3, and are
recently offering packages for runs of 500 cd's. (A few years ago, the
minimum was 1000 discs.) When you have your cd's pressed, shrink wrap
is usually a good thing, but don't get shrink wrap on any that you
plan to send to reviewers/blogs/radio stations. All the radio DJ's I
know personally tell me that they hate shrink wrap. (On the other
hand, someone who buys your cd probably wants shrink wrap - to show
that it's a new cd.)

One-Sheets:
One-sheets are the sheets of artist and cd info that accompany the cd.
The one-sheet should include:
--Artist name
--CD name
--A press-quality photo of the artist if you think it will work in
your favor. If not, a picture of the cd artwork. (I did the latter.)
--Record label
--all track names
--all track lengths in minutes:seconds
--a symbol that denotes any tracks with language that shouldn't be
played on the radio (or "tracks with fucks" as my dj friends call
them)
--a short bio paragraph about the artist
--a short paragraph about the cd
--(if applicable) one or two lines of "pull-quotes" - nice things that
well-known reviewers said about you.
--two or three "similar artists"

Some important notes about your bio: It should focus on what makes
your and your music unique and interesting. Use descriptive adjectives
to describe your music, but DO NOT use self-promotional language like
"Mind blowing", "the most" or "important" - it will just make you look
big-headed. Those terms are great in your pull-quotes, if it's clear
that you didn't write them to describe yourself.

www.allmusic.com is the site that generates most of the cd "metadata"
(track names, lengths, reviews and "similar artists") that winds up
all over the internet. If you get your cd reviewed on allmusic, that
review will appear on emusic and a slew of other spots on the
internet. However, the important thing with allmusic is that the first
cd you send to them is very important. The first cd I sent them wasn't
that great. They gave it a 3/5 star review, and didn't review the
"better" cd's I sent them afterwards.

At some point, the "put out an actual cd" requirement will probably go
away. I predict it will be within the next 2 or 3 years, but something
else will probably take its place to make sure people aren't flooding
the market place with willy-nillily released albums.

Ok, I've gone on enough.

Matt Davignon
www.ribosomemusic.com

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--_584986d4-b3c9-4b52-a1b8-a6d168236d3e_
Content-Type: text/plain; charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable


howdy jeffi might have missed this parameter somewhere=2C but can you choos=
e how long a message is displayed?as i cycle through my playlist of scripts=
 for each song (thanks again for that code)=2C i have it display the Phase =
# and a brief description of what the button just did - unfortunatly=2C it =
goes away after a few seconds=2C and i would like it to stay untill there i=
s another message that needs to be displayed(i.e. the next phase)=2C is thi=
s possible?mobius is so freakin sweet that now im just gettin picky =3DDeit=
her way=2C thanks fro
_________________________________________________________________
It=92s the same Hotmail=AE. If by =93same=94 you mean up to 70% faster.
http://windowslive.com/online/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_broad=
1_122008=

--_584986d4-b3c9-4b52-a1b8-a6d168236d3e_
Content-Type: text/html; charset="Windows-1252"
Content-Transfer-Encoding: quoted-printable

<html>
<head>
<style>
.hmmessage P
{
margin:0px=3B
padding:0px
}
body.hmmessage
{
font-size: 10pt=3B
font-family:Verdana
}
</style>
</head>
<body class=3D'hmmessage'>
<div>howdy jeff</div>i might have missed this parameter somewhere=2C but ca=
n you choose how long a message is displayed?<div>as i cycle through my pla=
ylist of scripts for each song (thanks again for that code)=2C i have it di=
splay the Phase # and a brief description of what the button just did -=A0<=
/div><div>unfortunatly=2C it goes away after a few seconds=2C and i would l=
ike it to stay untill there is another message that needs to be displayed(i=
.e. the next phase)=2C is this possible?</div><div><br></div><div>mobius is=
 so freakin sweet that now im just gettin picky =3DD</div><div>either way=
=2C thanks=A0</div><div>fro</div><br /><hr />It=92s the same Hotmail=AE. If=
 by =93same=94 you mean up to 70% faster. <a href=3D'http://windowslive.com=
/online/hotmail?ocid=3DTXT_TAGLM_WL_hotmail_acq_broad1_122008' target=3D'_n=
ew'>Get your account now.</a></body>
</html>=

--_584986d4-b3c9-4b52-a1b8-a6d168236d3e_--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 06:51:03 2008
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References: <495AB34F.20409@cruzio.com> <475EA356-5B1E-42DC-9288-4B67A8A408D9@zoekeating.com> <588ce11d0812302117u2ad68708x1893ea314c87d36c@mail.gmail.com>
Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
Date: Tue, 30 Dec 2008 23:50:57 -0700
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I was very interested for a while, but the prices are still too high for me, 
ironically, higher than CDs. Seems crazy to me.  So, with our digital 
recordeing these days, the three letters on an album would look sort of 
funny: DDA.  :)

Kris

----- Original Message ----- 

Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way 
It's Normally Done


> Is anyone out there doing vinyl releases? What would it take to do a
> small vinyl production run?
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 10:04:53 2008
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Date: Wed, 31 Dec 2008 11:04:51 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: New Software Looper
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Hi Lasse,

would it be possible that you give a quick rundown of the software's
features (and requirements) to us?

As for features, a starting point would be to provide the information
for Per's comparison chart: http://www.looproom.com/looperchart.php -
and be sure to send that info to Per as well for him to include it in
his reference.

The way I understand it:
   * it's a multi-track looper (meaning it has multiple loops running
in parallel, which can be muted/unmuted/recorded to independently)
   * everything is in sync to a master clock
   * first loop capability (the first loop track sets the speed - how
does this work? Does it send MIDI clock to Live which is then synced
to it and provides the tempo back to the looper?)
   * there are no adjustable feedback/secondary feedback settings
   * overdub is possible
   * you need a (free?) runtime version of a software called "Pluggo"
   * adjusting running loops to tempo changes happens by varispeeding
(i.e. the playback speed changes just with a tape)
   * everything is MIDI controllable

What else is there to know?

Looks like an interesting piece of software for many of us!

Thanks,

           Rainer

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 10:05:38 2008
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Date: Wed, 31 Dec 2008 10:05:37 +0000
From: Os <os@collective.co.uk>
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Subject: Re: Tonight's streaming show?
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that looks cool! I'm staying in babysitting (is it called babysitting
when it's your own kid?) tonight so should be ok to listen in.

good luck with your slot!


cheers,
os.


2008/12/31 SP Goodman <spgoodman@earthlight.net>:
> Is anyone else on the list playing on the electro-music thang tonight?
> http://electro-music.com/forum/topic-22830.html
>
> I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)
>
> Stephen Goodman
> *
> http://www.vimeo.com/spgoodman
> http://www.last.fm/music/Stephen+Goodman
>
>



-- 
os@collective.co.uk
http://www.darkroomtheband.net/
http://www.expert-sleepers.co.uk/

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 10:18:07 2008
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Date: Wed, 31 Dec 2008 11:18:06 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
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Art asked:
"Is anyone out there doing vinyl releases? What would it take to do a
small vinyl production run?"

One thing I'd recommend is to work with a pre-mastering engineer with
vinyl experience. Contrary to CDs which can contain any combination of
ones and zeros, there is audio content which can't be cut in the
mastering phase or which can be cut and pressed, but not played back
properly.

I had in the past also decided that at one time I'd like to do a vinyl
record. However, for me this wouldn't be a "DDA" production as Krispen
suggested - imo it only really makes sense to do it analogue all the
way. An acoustic album, the mikes going through a nice analogue
console with some analogue dynamic processors to a halftrack stereo
machine...(time to dream).

         Rainer

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 10:41:22 2008
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Date: Wed, 31 Dec 2008 11:41:21 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, fuzz, crunc
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On Wed, Dec 31, 2008 at 2:53 AM, Rick Walker <looppool@cruzio.com> wrote:
> WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
> ARE YOU IN LOVE WITH, LATELY?


My Roger Mayer Octavia.

It's a sensitive box, but when you feed it with the suitable level and
playing it makes the guitar tone fly. The sound I'm in love with can
only be achieved with a low output single coil in the neck position. I
sometimes even lower the volume knob on the Stratocaster a bit and
roll off some treble at the tone knob. That is for hitting the optimal
frequency that creates those nice envelopes in the Octavia (a guitar
note sounds like: "BEEEEOOOOOIIIIIII!UUUUUUHHHHHHhhhhh...."). I've
never found the Octavia useful for any other instrument than the
Stratocaster.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Date: Wed, 31 Dec 2008 11:53:00 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
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Rick said (about handmade CDs):
"Anyway,   This keeps my cost down to well under a dollar per unit. If
I do sell a CD then I am making $9 - $14 profit PER CD depending on
who buys it."

Really, Rick? By my calculation, that would mean that your hourly rate
while doing this is -$1.1 ;). Seriously, by my calculation, counting
in equipment use (ink etc.) but not equipment depreciation and things
like electrical power etc., you can come out slightly below the kunaki
price (at something like $1.35) - however NOT counting in any
logistics processes (actually going out and buying stuff and thus
wasting gas, or ordering it by mail and thus having to pay for
that...), and, more importantly, no manual labour.

So basically, if you do not value your own spare time at all (or even
give it a negative value), then that can be ok, if, on the other hand,
you value your spare time a great deal (like Krispen), then by all
means don't make your CDs yourself! It does not pay off.

            Rainer

(an interesting topic: how much worth is your spare time? A business
administrator would say it's the net hourly rate he earns when doing
work - which could vary from zero (or strictly speaking, a negative
value) for someone on the dole to something well in the three-figure
range for e.g. Krispen, making the outsourcing more valuable to him
then to you because his time is so much more expensive than yours. An
economist would actually ask "how much is it worth to the person in
question?". This could vary greatly from the figures we got before,
because while you, although not a big earner, have a lot to do in your
spare time, could actually value that more than a highly successful
lawyer who spends his spare time sitting in his multi-million dollar
house and being bored).

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Date: Wed, 31 Dec 2008 12:04:15 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
To: loopers-delight@loopers-delight.com
Subject: WHAT STOMP BOXES ARE YOU IN LOVE WITH?
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Rick,

I only use kinda-stompbox stuff when just grabbing a (electric or
electric bass) guitar now and then and rushing to start playing (which
I don't do that much today), and it's not even really stompbox, but
hey:

There's the small one: Zoom G2.1u into Boss DD20.
And there's the bigger one: Line6 POD X3 Live -> Boss DD20 -> EH SMM
w/Hazari -> Korg KP3.

(And if you want to chime in "hey, that Kaoss Pad is not a pedalboard
device", then you're wrong. On my track "Epilogue" (from the "Dem
Andenken eines Engels" album), there's a beautiful duet of me on
guitar and my right toes on KP1 ;).

You may notice that that both configurations have only one thing in
common: the DD20. Which prompts me to ask: any hardcore DSP
programmers here who would like to hack the DD20 so you can switch
back to a delay you had "left in background" (instead of just clearing
it when pressing the right footswitch for a second time)?

              Rainer

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 11:17:08 2008
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Date: Wed, 31 Dec 2008 06:11:08 -0500
From: "Todd Matthews" <gtmatthews@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: New Software Looper
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I downloaded the free pluggo junior and it worked fine.


Todd

On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <dubbilan@gmail.com>wrote:

> Hi Tony,
>
> I ought to specify that on the website yes.
> I have not tested it with Pluggo Runtime, but that is what it's for so it
> should work!
> Let me know... :)
>
> Lasse
>
>
>
> On Wed, Dec 31, 2008 at 3:36 AM, Tony K <bigtonyk@gmail.com> wrote:
>
>>  Do I need the full version of Pluggo to run it? Or can I just get the
>> Pluggo runtime?
>>
>>
>>
>> Tony
>>
>>
>>
>> *From:* Lasse juul Kolding [mailto:dubbilan@gmail.com]
>> *Sent:* Tuesday, December 30, 2008 4:05 PM
>> *To:* Loopers-Delight@loopers-delight.com
>> *Subject:* New Software Looper
>>
>>
>>
>> Dear fellow loopers,
>>
>> A quick annoucement to tell you about a new looping software called
>> "Syncopath Performer" ready for download.
>>
>> It is 100% Free as a VST for Windows and Intel Mac.
>>
>> The current version is called 1.0Beta and so far appears very solid -
>> especially on Mac where there's currently no known bugs!
>> It is made with MIDI controllers like the FCB1010 in mind and is fully
>> controlled via MIDI.
>> It has basically perfect synchronization as both Master and Slave of the
>> Host environment (the testing software has primarilly been Ableton Live 7).
>>
>> For more information head over to:
>>
>> Http://www.juvul.com
>>
>> Download links for both Windows and Intel Mac are available.
>>
>> Happy Holidays! :)
>>
>> Lasse
>>
>> No virus found in this incoming message.
>> Checked by AVG - http://www.avg.com
>> Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date:
>> 12/29/2008 10:48 AM
>>
>
>

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I downloaded the free pluggo junior and it worked fine.<br><br><br>Todd<br><br><div class="gmail_quote">On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <span dir="ltr">&lt;<a href="mailto:dubbilan@gmail.com">dubbilan@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi Tony,<br><br>I ought to specify that on the website yes.<br>I have not tested it with Pluggo Runtime, but that is what it&#39;s for so it should work!<br>
Let me know... :)<br><font color="#888888"><br>Lasse</font><div><div></div><div class="Wj3C7c"><br><br><br><div class="gmail_quote">
On Wed, Dec 31, 2008 at 3:36 AM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com" target="_blank">bigtonyk@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">










<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Do I need the full version of Pluggo to run it? Or can I just
get the Pluggo runtime?</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Tony</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;">

<p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> Lasse juul Kolding
[mailto:<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>] <br>
<b>Sent:</b> Tuesday, December 30, 2008 4:05 PM<br>
<b>To:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Subject:</b> New Software Looper</span></p>

</div><div><div></div><div>

<p>&nbsp;</p>

<p style="margin-bottom: 12pt;">Dear fellow loopers,<br>
<br>
A quick annoucement to tell you about a new looping software called
&quot;Syncopath Performer&quot; ready for download.<br>
<br>
It is 100% Free as a VST for Windows and Intel Mac.<br>
<br>
The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there&#39;s currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.<br>
It has basically perfect synchronization as both Master and Slave of the Host
environment (the testing software has primarilly been Ableton Live 7).<br>
<br>
For more information head over to:<br>
<br>
<a href="Http://www.juvul.com" target="_blank">Http://www.juvul.com</a><br>
<br>
Download links for both Windows and Intel Mac are available.<br>
<br>
Happy Holidays! :)<br>
<br>
Lasse</p>

</div></div><p><span style="font-size: 10pt;">No virus
found in this incoming message.<br>
Checked by AVG - <a href="http://www.avg.com" target="_blank">http://www.avg.com</a><br>
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
10:48 AM</span></p>

</div>

</div>


</blockquote></div><br>
</div></div></blockquote></div><br>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 11:19:05 2008
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Date: Wed, 31 Dec 2008 03:19:03 -0800 (PST)
From: "L.Angulo" <labaloops@yahoo.com>
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Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, fuzz, crunc
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electroharmonix micropog,the mojovibe and once again the experience pedal fuzzbox!

www.myspace.com/luisangulocom


--- On Wed, 12/31/08, Per Boysen <perboysen@gmail.com> wrote:

> From: Per Boysen <perboysen@gmail.com>
> Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, fuzz, crunc
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 31, 2008, 2:41 AM
> On Wed, Dec 31, 2008 at 2:53 AM, Rick Walker
> <looppool@cruzio.com> wrote:
> > WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
> > ARE YOU IN LOVE WITH, LATELY?
> 
> 
> My Roger Mayer Octavia.
> 
> It's a sensitive box, but when you feed it with the
> suitable level and
> playing it makes the guitar tone fly. The sound I'm in
> love with can
> only be achieved with a low output single coil in the neck
> position. I
> sometimes even lower the volume knob on the Stratocaster a
> bit and
> roll off some treble at the tone knob. That is for hitting
> the optimal
> frequency that creates those nice envelopes in the Octavia
> (a guitar
> note sounds like:
> "BEEEEOOOOOIIIIIII!UUUUUUHHHHHHhhhhh....").
> I've
> never found the Octavia useful for any other instrument
> than the
> Stratocaster.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 11:23:14 2008
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Subject: Re: Tonight's streaming show?
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Thanks for hinting, SP! I will listen if possible.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Wed, Dec 31, 2008 at 11:05 AM, Os <os@collective.co.uk> wrote:
> that looks cool! I'm staying in babysitting (is it called babysitting
> when it's your own kid?) tonight so should be ok to listen in.
>
> good luck with your slot!
>
>
> cheers,
> os.
>
>
> 2008/12/31 SP Goodman <spgoodman@earthlight.net>:
>> Is anyone else on the list playing on the electro-music thang tonight?
>> http://electro-music.com/forum/topic-22830.html
>>
>> I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)
>>
>> Stephen Goodman
>> *
>> http://www.vimeo.com/spgoodman
>> http://www.last.fm/music/Stephen+Goodman
>>
>>
>
>
>
> --
> os@collective.co.uk
> http://www.darkroomtheband.net/
> http://www.expert-sleepers.co.uk/
>
>

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Date: Wed, 31 Dec 2008 06:49:26 -0500
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Subject: Re: 2 questions about akai headrush E2
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thanks for the replys. it looks like it does work the way I hoped in terms
of outputs, and I'm more comfortable knowing that hiss hasn't been an issue.
now to bite the bullet and buy the thing.

On Mon, Dec 29, 2008 at 1:04 PM, Kayla Kavanagh
<irishkayla@googlemail.com>wrote:

> I use one regularly, and have never noticed any hiss at all!
>
> As for the four outputs, you can set the heads to independent speakers,
> which I did here: http://uk.youtube.com/watch?v=gy-SVV8b3QI
>
>
> 2008/12/29 van Sinn <vansinn@post.cybercity.dk>
>
> radio radio wrote:
>>
>>> I have 2 questions for anyone with experience with the headrush:
>>>
>>> (1) hiss? I've read some reviews that the hiss can be bad. My setup is
>>> mildly prone to hiss as is (and I typically take things out because hiss
>>> does bother me).
>>>
>>
>> Can't comment on the hiss, as I don't have one ;)
>>
>>  (2) the 4 output function...
>>>
>>
>> If no cables are inserted into those outs, all four echo taps (i.e. like
>> tape echo heads) are mixed onto the combined out.
>> Cables inserted into one or more of the head outs will carry that head
>> tap, and it will be removed form the mix out.
>> This also means you can just insert a dummy jack into a head out to remove
>> it from the mix.
>> In the mix out you could then have i.e. 1, 2, no-3, 4.
>>
>> The 'manual' is downloadable from akaipro.com (maybe akai-pro.com).
>>
>> --
>> rgds,
>> van Sinn
>>
>>
>
>
> --
> Kayla's website: http://www.kaylakavanagh.com
> MySpace: http://www.myspace.com/kaylakavanagh
> FaceBook: http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016
> Kaleidoscope Web Design: http://www.kaleidoscope-design.co.uk
>

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thanks for the replys. it looks like it does work the way I hoped in terms of outputs, and I&#39;m more comfortable knowing that hiss hasn&#39;t been an issue. now to bite the bullet and buy the thing.<div><br><br><div class="gmail_quote">
On Mon, Dec 29, 2008 at 1:04 PM, Kayla Kavanagh <span dir="ltr">&lt;<a href="mailto:irishkayla@googlemail.com">irishkayla@googlemail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
I use one regularly, and have never noticed any hiss at all!<br><br>As for the four outputs, you can set the heads to independent speakers, which I did here: <a href="http://uk.youtube.com/watch?v=gy-SVV8b3QI" target="_blank">http://uk.youtube.com/watch?v=gy-SVV8b3QI</a> <br>

<br><br><div class="gmail_quote">2008/12/29 van Sinn <span dir="ltr">&lt;<a href="mailto:vansinn@post.cybercity.dk" target="_blank">vansinn@post.cybercity.dk</a>&gt;</span><div><div></div><div class="Wj3C7c"><br><blockquote class="gmail_quote" style="border-left:1px solid rgb(204, 204, 204);margin:0pt 0pt 0pt 0.8ex;padding-left:1ex">

<div>radio radio wrote:<br>
<blockquote class="gmail_quote" style="border-left:1px solid rgb(204, 204, 204);margin:0pt 0pt 0pt 0.8ex;padding-left:1ex">
I have 2 questions for anyone with experience with the headrush:<br>
<br>
(1) hiss? I&#39;ve read some reviews that the hiss can be bad. My setup is mildly prone to hiss as is (and I typically take things out because hiss does bother me). <br>
</blockquote>
<br></div>
Can&#39;t comment on the hiss, as I don&#39;t have one ;)<br>
<br>
<blockquote class="gmail_quote" style="border-left:1px solid rgb(204, 204, 204);margin:0pt 0pt 0pt 0.8ex;padding-left:1ex">
(2) the 4 output function...<br>
</blockquote>
<br>
If no cables are inserted into those outs, all four echo taps (i.e. like tape echo heads) are mixed onto the combined out.<br>
Cables inserted into one or more of the head outs will carry that head tap, and it will be removed form the mix out.<br>
This also means you can just insert a dummy jack into a head out to remove it from the mix.<br>
In the mix out you could then have i.e. 1, 2, no-3, 4.<br>
<br>
The &#39;manual&#39; is downloadable from <a href="http://akaipro.com" target="_blank">akaipro.com</a> (maybe <a href="http://akai-pro.com" target="_blank">akai-pro.com</a>).<br>
<br>
-- <br>
rgds,<br><font color="#888888">
van Sinn<br>
<br>
</font></blockquote></div></div></div><font color="#888888"><br><br clear="all"><br>-- <br>Kayla&#39;s website: <a href="http://www.kaylakavanagh.com" target="_blank">http://www.kaylakavanagh.com</a><br>MySpace: <a href="http://www.myspace.com/kaylakavanagh" target="_blank">http://www.myspace.com/kaylakavanagh</a><br>

FaceBook: <a href="http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016" target="_blank">http://www.new.facebook.com/pages/Kayla-Kavanagh/22032129016</a><br>Kaleidoscope Web Design: <a href="http://www.kaleidoscope-design.co.uk" target="_blank">http://www.kaleidoscope-design.co.uk</a><br>


</font></blockquote></div><br></div>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 11:50:55 2008
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Rainer wrote:
"So basically, if you do not value your own spare time at all (or even
give it a negative value), then that can be ok, if, on the other hand,
you value your spare time a great deal (like Krispen), then by all
means don't make your CDs yourself! It does not pay off."

There are a lot of ways that things can pay us off as you say.  Not all 
involve money.  Some are economic,  some are time saving,  some
involve spiritual or personal satisfaction,  etc.     It's hard to 
quantize in this case for me so I can't agree with
your assessment of the way I do it.

Let me explain why your approach doesn't appeal to me:


What you say WOULD be true if I were in the economic bracket that you and 
Krispen are in, but I'm not.

What I mean by this is that I don't make very much money (because I live mostly 
off of my artistry or things related to it, peripherally like teaching, giving seminars, studio 
work, touring , et. al.)  at all so I have a lot more time 
than either of you to work on my music.

What I happen to do as an artist in a sense means that I'm not on the clock.

Not that time isn't valuable to me,  but the fact of the matter is 
that I lay out less actual cash doing it my way than with the Kunaki solution (which, by the way, 
I think is a wonderful solution for lots of people:  especially people with really high paying 
and time demanding jobs outside of the music, like you and Krispen).

Because my resources are vastly smaller than yours,  it's actually a better alternative for me to 
do it the way that I do it, merely because I lack the financial resources.

In my own world,  I rationalize this decision by thinking that I would have to go out 
and do work that is time consuming and not meaningful to me to make more money to put 
it out in ways that are more expensive.

I think if I were starting over again, however, that I might very well take the route that you 
are taking (having a good job that derives income not directly related to music) because it's gotten 
to be so vastly more difficult to make a living as a professional musician than when I was starting out.
I've just done it for 30 years and I just feel stubbornly (and egotistically) attached to doing 
it the way I do it.

Additionally,  I get a lot of artistic satisfaction out of doing everything myself.
I really like being in control of every aspect of my final 'product'.  In order to do this, 
I have to spend very little money to retain the aesthetic control that pleases me and 
gives me satisfaction, artistically.   I'm down with that compromise.  
I actually love doing way more, with very, very little (it's one of the salient reasons that draws 
me both to found sound and to lo fi toy videography)............I can spend a lot less money 
on all of it and it spurns me on to be a lot more creative.

Spiritually (and this is just for me: please understand that I"m not putting down anyone 
who chooses a different path),   I like that I'm involved with every step of the process.

Doing so forces me to learn a lot about all kinds of things that have helped my skill set in 
music and visual arts,  from designing to production to mastering, etc.  I get to grow a lot as 
an artist, consequently.

Sure, I'd love to do a killer vinyl release of Dayglo Orange Plastic (in fact, can't you imagine a 
cool limited run of 200 using Translucent Orange Vinyl?)  but I literally don't have enough money 
to do that.

It's all good...................I just wanted to pipe in and let people know that there are  a lot 
of ways to do things in the music industry without going down the typical paths.

And all that said and done,  I have great respect for both yours and Krispen's artistry and all the 
things you guys chose to do to put your own artistry out to the world.

Happy New Year to you and may 2009 be a really fruitful artistic year for you.

yours,  respectfully,   Rick



From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 12:00:57 2008
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Krispen, talking about vinyl releases that mix analogue and digital 
forms, said,
"So, with our digital recordeing (sic) these days,
 the three letters on an album would look sort of funny: DDA."


My wife has a cool and funny way of labeling how she mixes lo fi, 
cassette recording with
digital mixing and mastering on our computer....................

she labels her recording:

UMAD          or      an Unholy Mixture of Analogue and Digital


I like that............................some of it just comes down to you 
use what you have access to use........'

I keep noticing that it always seems to be musicians and golden ear 
audiophiles  who tweak out about the
way a record is recorded.

Most people just hear music..................................You know 
this is the case because
the MP3 is rapidly supplanting the CD as the coin of the realm  and CDs 
sound vastly better
than MP3s.

So I say..............if you have the resources and you want to go AAA,  
then by all means do it.
But there's nothing wrong with doing it anyway..................It's 
getting it out to the world
that is the most important thing...........imnsho

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 12:27:22 2008
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Rick Walker wrote:

> 
> I keep noticing that it always seems to be musicians and golden ear 
> audiophiles  who tweak out about the
> way a record is recorded.
> 
> Most people just hear music..................................You know 
> this is the case because
> the MP3 is rapidly supplanting the CD as the coin of the realm  and CDs 
> sound vastly better
> than MP3s.
> 

For most people, familiar music sounds good enough on mp3.
It seems that the vast majority of music consumption is
based on hearing something easily recognised, and it's
the familiarity which is appreciated. In this
case mp3 is presumably "close enough".
The same phenomenon can be heard with function bands,
they play their covers with enough accuracy to be easily
recognisable, and hence fulfil their function.

I'd be guessing though, that with new and unfamiliar music
the reproduction quality becomes more significant, as people
will (hopefully) be listening as well as hearing.

I'd 100% agree with you, most people I meet have no idea 
that their missing anything from their mp3's (or from 
the "sound enharncements" provided by i-pod/i-tunes).
I wouldn't however deduce from this that creators of
new music don't need to worry about sound quality,
I expect that the unfamiliar needs to sound good to
be convincing.

andy butler  

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On Wed, Dec 31, 2008 at 1:00 PM, Rick Walker <looppool@cruzio.com> wrote:

> UMAD          or      an Unholy Mixture of Analogue and Digital


LOL

Seriously, I think UMAD is more interesting than DIGITAL and even
beats ANALOG. It somehow sounds like a music genre. Reading that word
makes me wanna join the UMAD NOISIST ROCKERS and start kicking some
aass!

p ;-)

"Maybe I'm just a bit too awesome". Obama

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 12:41:44 2008
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Subject: Re: Tonight's streaming show?
Date: Wed, 31 Dec 2008 12:41:38 -0000
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Hm, has anyone been successful at combining FLStudio with Mobius for the 
purposes of a synchronized-length loop combined with the patterns FLStudio 
produces?  I don't want to channel FLStudio into the Loop in Mobius, I just 
want the loop to sync up with the drums, so I can do rhythm play on it as 
well as washes etc.  Otherwise I'll just wing it as usual, but this one has 
got stuck in my craw and I'd like to pull it off this evening if possible... 
Thx.

----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 31, 2008 11:23 AM
Subject: Re: Tonight's streaming show?


> Thanks for hinting, SP! I will listen if possible.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Wed, Dec 31, 2008 at 11:05 AM, Os <os@collective.co.uk> wrote:
>> that looks cool! I'm staying in babysitting (is it called babysitting
>> when it's your own kid?) tonight so should be ok to listen in.
>>
>> good luck with your slot!
>>
>>
>> cheers,
>> os.
>>
>>
>> 2008/12/31 SP Goodman <spgoodman@earthlight.net>:
>>> Is anyone else on the list playing on the electro-music thang tonight?
>>> http://electro-music.com/forum/topic-22830.html
>>>
>>> I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)
>>>
>>> Stephen Goodman
>>> *
>>> http://www.vimeo.com/spgoodman
>>> http://www.last.fm/music/Stephen+Goodman
>>>
>>>
>>
>>
>>
>> --
>> os@collective.co.uk
>> http://www.darkroomtheband.net/
>> http://www.expert-sleepers.co.uk/
>>
>>
>
>
>
>
> 

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Message-ID: <66f9cc1e0812310450o5a993145xde2b89b942f3be21@mail.gmail.com>
Date: Wed, 31 Dec 2008 13:50:23 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Tonight's streaming show?
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References: <477dfd520812301305v2ca5d3ev5b659aea6a78334b@mail.gmail.com>
	 <1225D3CE-5AFB-4707-B3B7-AC44D25D0395@zoekeating.com>
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Did you try using the setting "Quantize = Cycle" in Mobius? If you do
that and make sure your first created loop cycle glues with one bar of
FLStudio's way of counting time, then you should have one bar to give
the "NextLoop" (or whatever) command to Mobius at the end of each
FLStudio pattern. Maybe you want to totally automate it by putting the
MIDI event assigned to trigger Moibus among the FLStudio pattern
content? (not certain about FLStudio details, so I may be wrong here)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Wed, Dec 31, 2008 at 1:41 PM, SP Goodman <spgoodman@earthlight.net> wrote:
> Hm, has anyone been successful at combining FLStudio with Mobius for the
> purposes of a synchronized-length loop combined with the patterns FLStudio
> produces?  I don't want to channel FLStudio into the Loop in Mobius, I just
> want the loop to sync up with the drums, so I can do rhythm play on it as
> well as washes etc.  Otherwise I'll just wing it as usual, but this one has
> got stuck in my craw and I'd like to pull it off this evening if possible...
> Thx.

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 13:21:44 2008
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Date: Wed, 31 Dec 2008 14:21:43 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: X-Y vector pad for MIDI foot control?
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Hi,

Is anyone using a KaossPad on the floor for MIDI control by foot? Or
do you have better suggestions? The simpler the better, I only need
two MIDI CC's generated.

I've had enough of hand controlled joystick controllers and want to
find me some MIDI X-Y vector pad "carpet" where I can draw two
parameter's values at once with tip of a toe while using my hands for
other tasks.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 13:42:41 2008
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Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive,
 fuzz, crunc
Date: Wed, 31 Dec 2008 08:42:33 -0500
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I too love the Prescription Experience Pedal. Another pedal that I still have love for after several years (honeymoon period reviews are worse than useless in my opinion!) is my Line 6 Filter pedal. This is a truly deep pedal that has more interesting?sounds in it than any pedal has a right to have. Extremely fun for faux disco/dance filter sounds. Truly beautiful sounds are int there too. Definitely a tweaker's delight.

=-) PJ







-----Original Message-----
From: L.Angulo <labaloops@yahoo.com>
To: Loopers-Delight@loopers-delight.com
Sent: Wed, 31 Dec 2008 6:19 am
Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, fuzz, crunc



electroharmonix micropog,the mojovibe and once again the experience pedal 
fuzzbox!

www.myspace.com/luisangulocom


--- On Wed, 12/31/08, Per Boysen <perboysen@gmail.com> wrote:

> From: Per Boysen <perboysen@gmail.com>
> Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f 
overdrive, fuzz, crunc
> To: Loopers-Delight@loopers-delight.com
> Date: Wednesday, December 31, 2008, 2:41 AM
> On Wed, Dec 31, 2008 at 2:53 AM, Rick Walker
> <looppool@cruzio.com> wrote:
> > WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
> > ARE YOU IN LOVE WITH, LATELY?
> 
> 
> My Roger Mayer Octavia.
> 
> It's a sensitive box, but when you feed it with the
> suitable level and
> playing it makes the guitar tone fly. The sound I'm in
> love with can
> only be achieved with a low output single coil in the neck
> position. I
> sometimes even lower the volume knob on the Stratocaster a
> bit and
> roll off some treble at the tone knob. That is for hitting
> the optimal
> frequency that creates those nice envelopes in the Octavia
> (a guitar
> note sounds like:
> "BEEEEOOOOOIIIIIII!UUUUUUHHHHHHhhhhh....").
> I've
> never found the Octavia useful for any other instrument
> than the
> Stratocaster.
> 
> Greetings from Sweden
> 
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550


      



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I too love the Prescription Experience Pedal. Another pedal that I still have love for after several years (honeymoon period reviews are worse than useless in my opinion!) is my Line 6 Filter pedal. This is a truly deep pedal that has more interesting&nbsp;sounds in it than any pedal has a right to have. Extremely fun for faux disco/dance filter sounds. Truly beautiful sounds are int there too. Definitely a tweaker's delight.<br>
<br>
=-) PJ<br>

<BLOCKQUOTE style="PADDING-LEFT: 3px; BORDER-LEFT: blue 2px solid"><PRE><TT><TT></TT></PRE></TT></BLOCKQUOTE><br>
<br>
<br>
-----Original Message-----<br>
From: L.Angulo &lt;labaloops@yahoo.com&gt;<br>
To: Loopers-Delight@loopers-delight.com<br>
Sent: Wed, 31 Dec 2008 6:19 am<br>
Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, fuzz, crunc<br>
<br>


<div id=AOLMsgPart_0_73a98bfe-be3a-4b5d-9823-fc6fed916d0a style="FONT-SIZE: 12px; MARGIN: 0px; COLOR: #000; FONT-FAMILY: Tahoma, Verdana, Arial, Sans-Serif; BACKGROUND-COLOR: #fff"><PRE style="FONT-SIZE: 9pt"><TT>electroharmonix micropog,the mojovibe and once again the experience pedal 
fuzzbox!

<A href="http://www.myspace.com/luisangulocom" target=_blank>www.myspace.com/luisangulocom</A>


--- On Wed, 12/31/08, Per Boysen &lt;<A href="mailto:perboysen@gmail.com">perboysen@gmail.com</A>&gt; wrote:

&gt; From: Per Boysen &lt;<A href="mailto:perboysen@gmail.com">perboysen@gmail.com</A>&gt;
&gt; Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f 
overdrive, fuzz, crunc
&gt; To: <A href="mailto:Loopers-Delight@loopers-delight.com">Loopers-Delight@loopers-delight.com</A>
&gt; Date: Wednesday, December 31, 2008, 2:41 AM
&gt; On Wed, Dec 31, 2008 at 2:53 AM, Rick Walker
&gt; &lt;<A href="mailto:looppool@cruzio.com">looppool@cruzio.com</A>&gt; wrote:
&gt; &gt; WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
&gt; &gt; ARE YOU IN LOVE WITH, LATELY?
&gt; 
&gt; 
&gt; My Roger Mayer Octavia.
&gt; 
&gt; It's a sensitive box, but when you feed it with the
&gt; suitable level and
&gt; playing it makes the guitar tone fly. The sound I'm in
&gt; love with can
&gt; only be achieved with a low output single coil in the neck
&gt; position. I
&gt; sometimes even lower the volume knob on the Stratocaster a
&gt; bit and
&gt; roll off some treble at the tone knob. That is for hitting
&gt; the optimal
&gt; frequency that creates those nice envelopes in the Octavia
&gt; (a guitar
&gt; note sounds like:
&gt; "BEEEEOOOOOIIIIIII!UUUUUUHHHHHHhhhhh....").
&gt; I've
&gt; never found the Octavia useful for any other instrument
&gt; than the
&gt; Stratocaster.
&gt; 
&gt; Greetings from Sweden
&gt; 
&gt; Per Boysen
&gt; <A href="http://www.boysen.se/" target=_blank>www.boysen.se</A> (Swedish)
&gt; <A href="http://www.looproom.com/" target=_blank>www.looproom.com</A> (international)
&gt; <A href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target=_blank>www.ubetoo.com/Artist.taf?_ArtistId=6550</A>


      

</TT></PRE></div>
<!-- end of AOLMsgPart_0_73a98bfe-be3a-4b5d-9823-fc6fed916d0a --><div id='MAILCIAMB027-5c3b495b76c92a4' class='aol_ad_footer'><BR/><FONT style="color: black; font: normal 10pt ARIAL, SAN-SERIF;"><HR style="MARGIN-TOP: 10px"></HR>Listen to 350+ music, sports, & news radio stations &#150; including songs for the holidays &#150; FREE while you browse. <a href="http://toolbar.aol.com/aolradio/download.html?ncid=emlweusdown00000013">Start Listening Now</a>! </div>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 13:51:38 2008
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From: "SP Goodman" <spgoodman@earthlight.net>
To: <Loopers-Delight@loopers-delight.com>
References: <477dfd520812301305v2ca5d3ev5b659aea6a78334b@mail.gmail.com> <1225D3CE-5AFB-4707-B3B7-AC44D25D0395@zoekeating.com> <5C88BDDC2F894FFD8651FC6D2F871030@eluk1> <d054a9ca0812310205r4c5c4ac8v5e1c76438c90382d@mail.gmail.com> <66f9cc1e0812310323q712f54d3la11f4c69cc35b342@mail.gmail.com> <4A93157D763C4DABBB0FD5C7E90D3181@eluk1> <66f9cc1e0812310450o5a993145xde2b89b942f3be21@mail.gmail.com>
Subject: Re: Tonight's streaming show?
Date: Wed, 31 Dec 2008 13:51:32 -0000
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Thanks Per,

I thought it would be best to use FLStudio as a generator of bps via MIDI, 
utilizing the cycles of Mobius as a slave timing-wise, so I could at least 
keep it in sync.  Loop-wise I'm looking to have a big steaming pot of 
loopage on top of an already produced structure via FLStudio.  So I start 
off the song in FLStudio, then switch to Mobius for loop input.  I suppose I 
should assume to set the BPS to the same value first.  The next problem 
would be how to get Mobius to accept the sum output from Stereo Mix on my 
sound module, so that I can bang on a virtual mellotron as well as play 
guitar/loops into the pot.  If I can't do the above I suppose I could just 
set Mobius to run at the BPS of the song-in-question, have the output from 
FLStudio already written to a WAV file, and wing it on another Mobius 
channel?


> Did you try using the setting "Quantize = Cycle" in Mobius? If you do
> that and make sure your first created loop cycle glues with one bar of
> FLStudio's way of counting time, then you should have one bar to give
> the "NextLoop" (or whatever) command to Mobius at the end of each
> FLStudio pattern. Maybe you want to totally automate it by putting the
> MIDI event assigned to trigger Moibus among the FLStudio pattern
> content? (not certain about FLStudio details, so I may be wrong here)
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Wed, Dec 31, 2008 at 1:41 PM, SP Goodman <spgoodman@earthlight.net> 
> wrote:
>> Hm, has anyone been successful at combining FLStudio with Mobius for the
>> purposes of a synchronized-length loop combined with the patterns 
>> FLStudio
>> produces?  I don't want to channel FLStudio into the Loop in Mobius, I 
>> just
>> want the loop to sync up with the drums, so I can do rhythm play on it as
>> well as washes etc.  Otherwise I'll just wing it as usual, but this one 
>> has
>> got stuck in my craw and I'd like to pull it off this evening if 
>> possible...
>> Thx.
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 13:52:29 2008
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From: "Erdem Helvacioglu" <erdemhel@tnn.net>
To: <Loopers-Delight@loopers-delight.com>
Subject: OT : radios in europe
Date: Wed, 31 Dec 2008 15:52:22 +0200
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This is a multi-part message in MIME format.

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hey,

do you know any radio programs in Europe that broadcast experimental =
music, soundart, electroacoustic and contemporary?

thanks and best regards. happy new year to you all!

Erdem Helvacioglu
www.erdemhelvacioglu.com
www.myspace.com/erdemhelvacioglu
* * * * * * * * * * * * * * * * * * * *
"Wounded Breath" album is out now on Aucourant Records:
www.aucourantrecords.com/catalog.php?op=3Ddetail&cid=3D23

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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>hey,</DIV>
<DIV>&nbsp;</DIV>
<DIV>do you know any radio programs in Europe that broadcast =
experimental music,=20
soundart, electroacoustic and contemporary?</DIV>
<DIV>&nbsp;</DIV>
<DIV>thanks and best regards. happy new year to you all!</DIV>
<DIV>&nbsp;</DIV>
<DIV>Erdem Helvacioglu<BR><A=20
href=3D"http://www.erdemhelvacioglu.com">www.erdemhelvacioglu.com</A><BR>=
<A=20
href=3D"http://www.myspace.com/erdemhelvacioglu">www.myspace.com/erdemhel=
vacioglu</A><BR>*=20
* * * * * * * * * * * * * * * * * * *<BR>"Wounded Breath" album is out =
now on=20
Aucourant Records:<BR><A=20
href=3D"http://www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D=
23">www.aucourantrecords.com/catalog.php?op=3Ddetail&amp;cid=3D23</A><BR>=
</DIV></BODY></HTML>

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Date: Wed, 31 Dec 2008 14:53:09 +0100
From: "Rainer Straschill" <moinsound@googlemail.com>
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Subject: X-Y vector pad for MIDI foot control?
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Per asked:
"Is anyone using a KaossPad on the floor for MIDI control by foot?"

See me post a few hours hence talking about pedal boards...yes, I did
that with a Korg KP1 (the first Kaoss Pad). To be very precise, I only
used it in conjunction with the built-in effects, so I didn't do any
MIDI processing, but using it as a MIDI controller for other devices
should work just as fine.

You may want to think about using this kind of thin socks which cover
each toe individually.

           Rainer

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Date: Wed, 31 Dec 2008 15:10:37 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: X-Y vector pad for MIDI foot control?
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On Wed, Dec 31, 2008 at 2:53 PM, Rainer Straschill
<moinsound@googlemail.com> wrote:
> Per asked:
> "Is anyone using a KaossPad on the floor for MIDI control by foot?"
>
> See me post a few hours hence talking about pedal boards...yes, I did
> that with a Korg KP1 (the first Kaoss Pad). To be very precise, I only
> used it in conjunction with the built-in effects, so I didn't do any
> MIDI processing, but using it as a MIDI controller for other devices
> should work just as fine.
>
> You may want to think about using this kind of thin socks which cover
> each toe individually.
>
>           Rainer


Hm... does this mean the KP technically tracks movements like the
touch pad on a laptop? Maybe it would be better to build something;
bend a joy stick into a movable foot plate inside a frame? I'd like to
be able to use it even outdoors and with different shoes. I've done
the experiment of using the two Behringer FCB expression pedals for
the X and Y axis and that truly suck compared to having a surface that
really is movable along the two axis.

Per

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Date: Wed, 31 Dec 2008 15:22:37 +0100
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Subject: Re: OT : radios in europe
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On Wed, Dec 31, 2008 at 2:52 PM, Erdem Helvacioglu <erdemhel@tnn.net> wrote:

> do you know any radio programs in Europe that broadcast experimental music,
> soundart, electroacoustic and contemporary?

Google it! We did that with the latest Per Boysen & Costas Anderou
release and found many stations, both FM based and web streaming. I
don't have a data base backline of all that though, would cost too
much time to set up and everything is already on the web anyway. Most
local stations interact in English these days, yes even The French!

Good luck with the new album. I enjoy that music! :-)

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

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Date: Wed, 31 Dec 2008 09:53:06 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: New Software Looper
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It works with the runtime pluggo.

I tried it for a little while last night, made it crash ( in AudioMulch by
switching the screen to the message(?) window), and got completely confused
as to how to get it to record, overdub, then playback.  The tutorials are
nice, but it needs a simple document on how to work it.

I'll try again when it's not 1am. :)

MIDI control would be great.

On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <dubbilan@gmail.com>wrote:

> Hi Tony,
>
> I ought to specify that on the website yes.
> I have not tested it with Pluggo Runtime, but that is what it's for so it
> should work!
> Let me know... :)
>
> Lasse
>
>
>
> On Wed, Dec 31, 2008 at 3:36 AM, Tony K <bigtonyk@gmail.com> wrote:
>
>>  Do I need the full version of Pluggo to run it? Or can I just get the
>> Pluggo runtime?
>>
>>
>>
>> Tony
>>
>>
>>
>> *From:* Lasse juul Kolding [mailto:dubbilan@gmail.com]
>> *Sent:* Tuesday, December 30, 2008 4:05 PM
>> *To:* Loopers-Delight@loopers-delight.com
>> *Subject:* New Software Looper
>>
>>
>>
>> Dear fellow loopers,
>>
>> A quick annoucement to tell you about a new looping software called
>> "Syncopath Performer" ready for download.
>>
>> It is 100% Free as a VST for Windows and Intel Mac.
>>
>> The current version is called 1.0Beta and so far appears very solid -
>> especially on Mac where there's currently no known bugs!
>> It is made with MIDI controllers like the FCB1010 in mind and is fully
>> controlled via MIDI.
>> It has basically perfect synchronization as both Master and Slave of the
>> Host environment (the testing software has primarilly been Ableton Live 7).
>>
>> For more information head over to:
>>
>> Http://www.juvul.com
>>
>> Download links for both Windows and Intel Mac are available.
>>
>> Happy Holidays! :)
>>
>> Lasse
>>
>> No virus found in this incoming message.
>> Checked by AVG - http://www.avg.com
>> Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date:
>> 12/29/2008 10:48 AM
>>
>
>


-- 
-==-=-=-
Tony

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It works with the runtime pluggo.&nbsp; <br><br>I tried it for a little while last night, made it crash ( in AudioMulch by switching the screen to the message(?) window), and got completely confused as to how to get it to record, overdub, then playback.&nbsp; The tutorials are nice, but it needs a simple document on how to work it. <br>
<br>I&#39;ll try again when it&#39;s not 1am. :)<br><br>MIDI control would be great.<br><br><div class="gmail_quote">On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <span dir="ltr">&lt;<a href="mailto:dubbilan@gmail.com">dubbilan@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi Tony,<br><br>I ought to specify that on the website yes.<br>I have not tested it with Pluggo Runtime, but that is what it&#39;s for so it should work!<br>
Let me know... :)<br><font color="#888888"><br>Lasse</font><div><div></div><div class="Wj3C7c"><br><br><br><div class="gmail_quote">
On Wed, Dec 31, 2008 at 3:36 AM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com" target="_blank">bigtonyk@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">










<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Do I need the full version of Pluggo to run it? Or can I just
get the Pluggo runtime?</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Tony</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;">

<p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> Lasse juul Kolding
[mailto:<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>] <br>
<b>Sent:</b> Tuesday, December 30, 2008 4:05 PM<br>
<b>To:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Subject:</b> New Software Looper</span></p>

</div><div><div></div><div>

<p>&nbsp;</p>

<p style="margin-bottom: 12pt;">Dear fellow loopers,<br>
<br>
A quick annoucement to tell you about a new looping software called
&quot;Syncopath Performer&quot; ready for download.<br>
<br>
It is 100% Free as a VST for Windows and Intel Mac.<br>
<br>
The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there&#39;s currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.<br>
It has basically perfect synchronization as both Master and Slave of the Host
environment (the testing software has primarilly been Ableton Live 7).<br>
<br>
For more information head over to:<br>
<br>
<a href="Http://www.juvul.com" target="_blank">Http://www.juvul.com</a><br>
<br>
Download links for both Windows and Intel Mac are available.<br>
<br>
Happy Holidays! :)<br>
<br>
Lasse</p>

</div></div><p><span style="font-size: 10pt;">No virus
found in this incoming message.<br>
Checked by AVG - <a href="http://www.avg.com" target="_blank">http://www.avg.com</a><br>
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
10:48 AM</span></p>

</div>

</div>


</blockquote></div><br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br>-==-=-=- <br>Tony<br>

------=_Part_15064_31157912.1230735186299--

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Yes ... I'm ("usr/sbin") on for 30 minutes, starting at 3:30 AM GMT ...

Dennis

On Tue, Dec 30, 2008 at 10:17 PM, SP Goodman <spgoodman@earthlight.net>wrote:

> Is anyone else on the list playing on the electro-music thang tonight?
> http://electro-music.com/forum/topic-22830.html
>
> I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)
>
> Stephen Goodman
> *
> http://www.vimeo.com/spgoodman
> http://www.last.fm/music/Stephen+Goodman
>
>


-- 
http://myspace.com/usrsbin
http://audiozoloft.com
http://usrslashsbin.angrek.com/

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Yes ... I&#39;m (&quot;usr/sbin&quot;) on for 30 minutes, starting at 3:30 AM GMT ...<br><br>Dennis<br><br><div class="gmail_quote">On Tue, Dec 30, 2008 at 10:17 PM, SP Goodman <span dir="ltr">&lt;<a href="mailto:spgoodman@earthlight.net">spgoodman@earthlight.net</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Is anyone else on the list playing on the electro-music thang tonight?<br>
<a href="http://electro-music.com/forum/topic-22830.html" target="_blank">http://electro-music.com/forum/topic-22830.html</a><br>
<br>
I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)<br>
<br>
Stephen Goodman<br>
*<br>
<a href="http://www.vimeo.com/spgoodman" target="_blank">http://www.vimeo.com/spgoodman</a><br>
<a href="http://www.last.fm/music/Stephen+Goodman" target="_blank">http://www.last.fm/music/Stephen+Goodman</a><br>
<br>
</blockquote></div><br><br clear="all"><br>-- <br><a href="http://myspace.com/usrsbin">http://myspace.com/usrsbin</a><br><a href="http://audiozoloft.com">http://audiozoloft.com</a><br><a href="http://usrslashsbin.angrek.com/">http://usrslashsbin.angrek.com/</a><br>


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Date: Wed, 31 Dec 2008 10:12:48 -0500
From: "Tony K" <bigtonyk@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: WHAT STOMP BOXES ARE YOU IN LOVE WITH? was distortion,f overdrive, fuzz, crunc
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>WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
>ARE YOU IN LOVE WITH, LATELY?

Since my last move, I'm not even sure where most of my stomp boxes are!
But, the ones I have out and use occasionally (besides the loopers) are the
complete ModFX set (LOVE them), an EH Bass MicroSynth, Adrenalinn, Ibanez
Chorus with the "WARP" setting.  Unless you count a Digitech RP2000 and a
VG8ex as stomp boxes.  Rack fx don't count, right?  I have an original EH
Electric Mistress that just kicks butt.  Best flanger ever. :)  I wish my
old Small Clone hadn't died.  I loved that chorus.


On Tue, Dec 30, 2008 at 8:53 PM, Rick Walker <looppool@cruzio.com> wrote:

> I'm just in love with stomp boxes lately.
> I'm curious,   what setups are you all using these days?
>
> WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS
> ARE YOU IN LOVE WITH, LATELY?
>
> ************************
>
> As for me,  lately I've  been playing my nephew's beautiful vintage Gibson
> Les Paul
> (a guitar I could never even dream of owning but one that is on long term
> loan to me,
> thank heavens)  through my Zvex Fuzz Factory,  an Alesis Bit-R-Man (falling
> in love with that pedal again after not having used it for a long time),
>  Miko B's
> really nice Wah Wah pedal and one of the great undiscovered deals in all
> stomp box pedaldom-----the Danelectro Chili Dog,  which kicks ass on the
> Boss Octaver.........more on that in  a second.
>
> All of this I'm either running through my little Fender Tube Champ amp
> (steal of the
> year at $120 at the flea market) or through my old Peavey bass cabinet (if
> I"m playing bass)
> and tuning my guitar to DDDFDD.     I"m tuning by ear and letting all the
> D's be a tiny
> bit out of tune with each other..............I mean a tiny bit........just
> enough to give it some
> delicious faux chorusing effects that sound more,  well, 'organic' than a
> chorus pedal.
>
> I'm finding that having mostly the same note let's all the distortion/fuzz
> algorithms
> have less to play with in a musical way...............it's noisy as hell
> but still very melodic..............really nice to manipulate a single
> feeding back tone with the Electrix Repeaters pitch/stretch algorithms.
>
> ****************
>
> For years,  and especially when my wife was playing electric in Lackadaisy,
>  I scoured the local
> flea market every week for random stomp box pedals that I purchased for $5
> to no more than
> $20.     I really have a nice collection of typical and sometimes really
> weird stomp boxes amassed
> over the years without ever having spent very much money to buy them (lol,
>  until my
> $175 Zvex splurge of late).
>
> One pedal I got that I just didn't like was an old Boss FT-2 Dynamic
> Filter.
> I'm not a fan of T-wah and Envelope follower sounds so I filed that one for
> a rainy day but
> one day,  my brother hipped me to the fact that it has an expression pedal
> jack.
>
> This means I can use it the way Miko B was saying he used his Wah Wah
> pedal................as
> a very subtle manipulater of timbre as opposed to a typical wow wow kind of
> sound.
>
> The cool thing about the Dynamic Filter is that it can sweep all the
> frequencies so it sounds
> different than the few wahs I've heard.
>
> Sooooo,  I"m in noise heaven lately......................just really
> enjoying myself and playing
> ridiculously simply because the timbre is so gigantic.
>
> Just guitar and a throbbing drumset.............................a lot can
> be done.
>
> ******
>
>


-- 
-==-=-=-
Tony

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&gt;WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS<br>&gt;ARE YOU IN LOVE WITH, LATELY?<br><br>Since my last move, I&#39;m not even sure where most of my stomp boxes are!&nbsp; But, the ones I have out and use occasionally (besides the loopers) are the complete ModFX set (LOVE them), an EH Bass MicroSynth, Adrenalinn, Ibanez Chorus with the &quot;WARP&quot; setting.&nbsp; Unless you count a Digitech RP2000 and a VG8ex as stomp boxes.&nbsp; Rack fx don&#39;t count, right?&nbsp; I have an original EH Electric Mistress that just kicks butt.&nbsp; Best flanger ever. :)&nbsp; I wish my old Small Clone hadn&#39;t died.&nbsp; I loved that chorus.&nbsp; <br>

<br><br><div class="gmail_quote">On Tue, Dec 30, 2008 at 8:53 PM, Rick Walker <span dir="ltr">&lt;<a href="mailto:looppool@cruzio.com">looppool@cruzio.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I&#39;m just in love with stomp boxes lately.<br>
I&#39;m curious, &nbsp; what setups are you all using these days?<br>
<br>
WHAT STOMP BOXES and PEDAL BOARD CONFIGURATIONS<br>
ARE YOU IN LOVE WITH, LATELY?<br>
<br>
************************<br>
<br>
As for me, &nbsp;lately I&#39;ve &nbsp;been playing my nephew&#39;s beautiful vintage Gibson Les Paul<br>
(a guitar I could never even dream of owning but one that is on long term loan to me,<br>
thank heavens) &nbsp;through my Zvex Fuzz Factory, &nbsp;an Alesis Bit-R-Man (falling<br>
in love with that pedal again after not having used it for a long time), &nbsp;Miko B&#39;s<br>
really nice Wah Wah pedal and one of the great undiscovered deals in all<br>
stomp box pedaldom-----the Danelectro Chili Dog, &nbsp;which kicks ass on the<br>
Boss Octaver.........more on that in &nbsp;a second.<br>
<br>
All of this I&#39;m either running through my little Fender Tube Champ amp (steal of the<br>
year at $120 at the flea market) or through my old Peavey bass cabinet (if I&quot;m playing bass)<br>
and tuning my guitar to DDDFDD. &nbsp; &nbsp; I&quot;m tuning by ear and letting all the D&#39;s be a tiny<br>
bit out of tune with each other..............I mean a tiny bit........just enough to give it some<br>
delicious faux chorusing effects that sound more, &nbsp;well, &#39;organic&#39; than a chorus pedal.<br>
<br>
I&#39;m finding that having mostly the same note let&#39;s all the distortion/fuzz algorithms<br>
have less to play with in a musical way...............it&#39;s noisy as hell<br>
but still very melodic..............really nice to manipulate a single<br>
feeding back tone with the Electrix Repeaters pitch/stretch algorithms.<br>
<br>
****************<br>
<br>
For years, &nbsp;and especially when my wife was playing electric in Lackadaisy, &nbsp;I scoured the local<br>
flea market every week for random stomp box pedals that I purchased for $5 to no more than<br>
$20. &nbsp; &nbsp; I really have a nice collection of typical and sometimes really weird stomp boxes amassed<br>
over the years without ever having spent very much money to buy them (lol, &nbsp;until my<br>
$175 Zvex splurge of late).<br>
<br>
One pedal I got that I just didn&#39;t like was an old Boss FT-2 Dynamic Filter.<br>
I&#39;m not a fan of T-wah and Envelope follower sounds so I filed that one for a rainy day but<br>
one day, &nbsp;my brother hipped me to the fact that it has an expression pedal jack.<br>
<br>
This means I can use it the way Miko B was saying he used his Wah Wah pedal................as<br>
a very subtle manipulater of timbre as opposed to a typical wow wow kind of sound.<br>
<br>
The cool thing about the Dynamic Filter is that it can sweep all the frequencies so it sounds<br>
different than the few wahs I&#39;ve heard.<br>
<br>
Sooooo, &nbsp;I&quot;m in noise heaven lately......................just really enjoying myself and playing<br>
ridiculously simply because the timbre is so gigantic.<br>
<br>
Just guitar and a throbbing drumset.............................a lot can be done.<br>
<br>
******<br>
<br>
</blockquote></div><br><br clear="all"><br>-- <br>-==-=-=- <br>Tony<br>

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Date: Wed, 31 Dec 2008 16:12:48 +0100
From: "Lasse juul Kolding" <dubbilan@gmail.com>
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Subject: Re: New Software Looper
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Hi Rainer,

Thanks for you detailed email.
I will make such a list in a new topic and be sure to send it to Per as
well.
I have been in contact with him already, just a little...

Thanks again!

Lasse


On Wed, Dec 31, 2008 at 11:04 AM, Rainer Straschill <
moinsound@googlemail.com> wrote:

> Hi Lasse,
>
> would it be possible that you give a quick rundown of the software's
> features (and requirements) to us?
>
> As for features, a starting point would be to provide the information
> for Per's comparison chart: http://www.looproom.com/looperchart.php -
> and be sure to send that info to Per as well for him to include it in
> his reference.
>
> The way I understand it:
>   * it's a multi-track looper (meaning it has multiple loops running
> in parallel, which can be muted/unmuted/recorded to independently)
>   * everything is in sync to a master clock
>   * first loop capability (the first loop track sets the speed - how
> does this work? Does it send MIDI clock to Live which is then synced
> to it and provides the tempo back to the looper?)
>   * there are no adjustable feedback/secondary feedback settings
>   * overdub is possible
>   * you need a (free?) runtime version of a software called "Pluggo"
>   * adjusting running loops to tempo changes happens by varispeeding
> (i.e. the playback speed changes just with a tape)
>   * everything is MIDI controllable
>
> What else is there to know?
>
> Looks like an interesting piece of software for many of us!
>
> Thanks,
>
>           Rainer
>
>

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Hi Rainer,<br><br>Thanks for you detailed email.<br>I will make such a list in a new topic and be sure to send it to Per as well.<br>I have been in contact with him already, just a little...<br><br>Thanks again!<br><br>Lasse<br>
<br><br><div class="gmail_quote">On Wed, Dec 31, 2008 at 11:04 AM, Rainer Straschill <span dir="ltr">&lt;<a href="mailto:moinsound@googlemail.com">moinsound@googlemail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Hi Lasse,<br>
<br>
would it be possible that you give a quick rundown of the software&#39;s<br>
features (and requirements) to us?<br>
<br>
As for features, a starting point would be to provide the information<br>
for Per&#39;s comparison chart: <a href="http://www.looproom.com/looperchart.php" target="_blank">http://www.looproom.com/looperchart.php</a> -<br>
and be sure to send that info to Per as well for him to include it in<br>
his reference.<br>
<br>
The way I understand it:<br>
 &nbsp; * it&#39;s a multi-track looper (meaning it has multiple loops running<br>
in parallel, which can be muted/unmuted/recorded to independently)<br>
 &nbsp; * everything is in sync to a master clock<br>
 &nbsp; * first loop capability (the first loop track sets the speed - how<br>
does this work? Does it send MIDI clock to Live which is then synced<br>
to it and provides the tempo back to the looper?)<br>
 &nbsp; * there are no adjustable feedback/secondary feedback settings<br>
 &nbsp; * overdub is possible<br>
 &nbsp; * you need a (free?) runtime version of a software called &quot;Pluggo&quot;<br>
 &nbsp; * adjusting running loops to tempo changes happens by varispeeding<br>
(i.e. the playback speed changes just with a tape)<br>
 &nbsp; * everything is MIDI controllable<br>
<br>
What else is there to know?<br>
<br>
Looks like an interesting piece of software for many of us!<br>
<br>
Thanks,<br>
<font color="#888888"><br>
 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Rainer<br>
<br>
</font></blockquote></div><br>

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Hey Todd and Tony,

Thanks for letting me know it works with both Runtime and Junior versions of
Pluggo :)

As for MIDI control, it already has it.
It didn't even use to have a Graphical user interface...

I must admit I've never heard of AudioMulch before, but in Ableton Live and
many other hosts, you can open up a property tab for your plugin.
This will show you a list of all the controls from which you can map MIDI or
Keyboard control.

I'm going to have a look at AudioMulch...

Have a great New Year!

Lasse


On Wed, Dec 31, 2008 at 3:53 PM, Tony K <bigtonyk@gmail.com> wrote:

> It works with the runtime pluggo.
>
> I tried it for a little while last night, made it crash ( in AudioMulch by
> switching the screen to the message(?) window), and got completely confused
> as to how to get it to record, overdub, then playback.  The tutorials are
> nice, but it needs a simple document on how to work it.
>
> I'll try again when it's not 1am. :)
>
> MIDI control would be great.
>
> On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <dubbilan@gmail.com>wrote:
>
>> Hi Tony,
>>
>> I ought to specify that on the website yes.
>> I have not tested it with Pluggo Runtime, but that is what it's for so it
>> should work!
>> Let me know... :)
>>
>> Lasse
>>
>>
>>
>> On Wed, Dec 31, 2008 at 3:36 AM, Tony K <bigtonyk@gmail.com> wrote:
>>
>>>  Do I need the full version of Pluggo to run it? Or can I just get the
>>> Pluggo runtime?
>>>
>>>
>>>
>>> Tony
>>>
>>>
>>>
>>> *From:* Lasse juul Kolding [mailto:dubbilan@gmail.com]
>>> *Sent:* Tuesday, December 30, 2008 4:05 PM
>>> *To:* Loopers-Delight@loopers-delight.com
>>> *Subject:* New Software Looper
>>>
>>>
>>>
>>> Dear fellow loopers,
>>>
>>> A quick annoucement to tell you about a new looping software called
>>> "Syncopath Performer" ready for download.
>>>
>>> It is 100% Free as a VST for Windows and Intel Mac.
>>>
>>> The current version is called 1.0Beta and so far appears very solid -
>>> especially on Mac where there's currently no known bugs!
>>> It is made with MIDI controllers like the FCB1010 in mind and is fully
>>> controlled via MIDI.
>>> It has basically perfect synchronization as both Master and Slave of the
>>> Host environment (the testing software has primarilly been Ableton Live 7).
>>>
>>> For more information head over to:
>>>
>>> Http://www.juvul.com
>>>
>>> Download links for both Windows and Intel Mac are available.
>>>
>>> Happy Holidays! :)
>>>
>>> Lasse
>>>
>>> No virus found in this incoming message.
>>> Checked by AVG - http://www.avg.com
>>> Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date:
>>> 12/29/2008 10:48 AM
>>>
>>
>>
>
>
> --
> -==-=-=-
> Tony
>

------=_Part_81879_30820495.1230736835444
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Content-Transfer-Encoding: 7bit
Content-Disposition: inline

Hey Todd and Tony,<br><br>Thanks for letting me know it works with both Runtime and Junior versions of Pluggo :)<br><br>As for MIDI control, it already has it.<br>It didn&#39;t even use to have a Graphical user interface...<br>
<br>I must admit I&#39;ve never heard of AudioMulch before, but in Ableton Live and many other hosts, you can open up a property tab for your plugin.<br>This will show you a list of all the controls from which you can map MIDI or Keyboard control.<br>
<br>I&#39;m going to have a look at AudioMulch...<br><br>Have a great New Year!<br><br>Lasse<br><br><br><div class="gmail_quote">On Wed, Dec 31, 2008 at 3:53 PM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com">bigtonyk@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">It works with the runtime pluggo.&nbsp; <br><br>I tried it for a little while last night, made it crash ( in AudioMulch by switching the screen to the message(?) window), and got completely confused as to how to get it to record, overdub, then playback.&nbsp; The tutorials are nice, but it needs a simple document on how to work it. <br>

<br>I&#39;ll try again when it&#39;s not 1am. :)<br><br>MIDI control would be great.<br><br><div class="gmail_quote"><div class="Ih2E3d">On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <span dir="ltr">&lt;<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>&gt;</span> wrote:<br>

</div><div><div></div><div class="Wj3C7c"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi Tony,<br><br>I ought to specify that on the website yes.<br>
I have not tested it with Pluggo Runtime, but that is what it&#39;s for so it should work!<br>
Let me know... :)<br><font color="#888888"><br>Lasse</font><div><div></div><div><br><br><br><div class="gmail_quote">
On Wed, Dec 31, 2008 at 3:36 AM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com" target="_blank">bigtonyk@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">











<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Do I need the full version of Pluggo to run it? Or can I just
get the Pluggo runtime?</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Tony</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;">

<p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> Lasse juul Kolding
[mailto:<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>] <br>
<b>Sent:</b> Tuesday, December 30, 2008 4:05 PM<br>
<b>To:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Subject:</b> New Software Looper</span></p>

</div><div><div></div><div>

<p>&nbsp;</p>

<p style="margin-bottom: 12pt;">Dear fellow loopers,<br>
<br>
A quick annoucement to tell you about a new looping software called
&quot;Syncopath Performer&quot; ready for download.<br>
<br>
It is 100% Free as a VST for Windows and Intel Mac.<br>
<br>
The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there&#39;s currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.<br>
It has basically perfect synchronization as both Master and Slave of the Host
environment (the testing software has primarilly been Ableton Live 7).<br>
<br>
For more information head over to:<br>
<br>
<a href="Http://www.juvul.com" target="_blank">Http://www.juvul.com</a><br>
<br>
Download links for both Windows and Intel Mac are available.<br>
<br>
Happy Holidays! :)<br>
<br>
Lasse</p>

</div></div><p><span style="font-size: 10pt;">No virus
found in this incoming message.<br>
Checked by AVG - <a href="http://www.avg.com" target="_blank">http://www.avg.com</a><br>
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
10:48 AM</span></p>

</div>

</div>


</blockquote></div><br>
</div></div></blockquote></div></div></div><br><br clear="all"><br>-- <br>-==-=-=- <br><font color="#888888">Tony<br>
</font></blockquote></div><br>

------=_Part_81879_30820495.1230736835444--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 15:23:47 2008
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>MIDI control would be great.

Oh, it's IN there.  Oops.  Nevermind.

Reminder.  Don't play with software for the first time in the middle of the
night. :)

On Wed, Dec 31, 2008 at 9:53 AM, Tony K <bigtonyk@gmail.com> wrote:

> It works with the runtime pluggo.
>
> I tried it for a little while last night, made it crash ( in AudioMulch by
> switching the screen to the message(?) window), and got completely confused
> as to how to get it to record, overdub, then playback.  The tutorials are
> nice, but it needs a simple document on how to work it.
>
> I'll try again when it's not 1am. :)
>
> MIDI control would be great.
>
> On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <dubbilan@gmail.com>wrote:
>
>> Hi Tony,
>>
>> I ought to specify that on the website yes.
>> I have not tested it with Pluggo Runtime, but that is what it's for so it
>> should work!
>> Let me know... :)
>>
>> Lasse
>>
>>
>>
>> On Wed, Dec 31, 2008 at 3:36 AM, Tony K <bigtonyk@gmail.com> wrote:
>>
>>>  Do I need the full version of Pluggo to run it? Or can I just get the
>>> Pluggo runtime?
>>>
>>>
>>>
>>> Tony
>>>
>>>
>>>
>>> *From:* Lasse juul Kolding [mailto:dubbilan@gmail.com]
>>> *Sent:* Tuesday, December 30, 2008 4:05 PM
>>> *To:* Loopers-Delight@loopers-delight.com
>>> *Subject:* New Software Looper
>>>
>>>
>>>
>>> Dear fellow loopers,
>>>
>>> A quick annoucement to tell you about a new looping software called
>>> "Syncopath Performer" ready for download.
>>>
>>> It is 100% Free as a VST for Windows and Intel Mac.
>>>
>>> The current version is called 1.0Beta and so far appears very solid -
>>> especially on Mac where there's currently no known bugs!
>>> It is made with MIDI controllers like the FCB1010 in mind and is fully
>>> controlled via MIDI.
>>> It has basically perfect synchronization as both Master and Slave of the
>>> Host environment (the testing software has primarilly been Ableton Live 7).
>>>
>>> For more information head over to:
>>>
>>> Http://www.juvul.com
>>>
>>> Download links for both Windows and Intel Mac are available.
>>>
>>> Happy Holidays! :)
>>>
>>> Lasse
>>>
>>> No virus found in this incoming message.
>>> Checked by AVG - http://www.avg.com
>>> Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date:
>>> 12/29/2008 10:48 AM
>>>
>>
>>
>
>
> --
> -==-=-=-
> Tony
>



-- 
-==-=-=-
Tony

------=_Part_15269_17187932.1230737025026
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&gt;MIDI control would be great.<br><br>Oh, it&#39;s IN there.&nbsp; Oops.&nbsp; Nevermind.<br><br>Reminder.&nbsp; Don&#39;t play with software for the first time in the middle of the night. :)<br><br><div class="gmail_quote">On Wed, Dec 31, 2008 at 9:53 AM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com">bigtonyk@gmail.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">It works with the runtime pluggo.&nbsp; <br><br>I tried it for a little while last night, made it crash ( in AudioMulch by switching the screen to the message(?) window), and got completely confused as to how to get it to record, overdub, then playback.&nbsp; The tutorials are nice, but it needs a simple document on how to work it. <br>

<br>I&#39;ll try again when it&#39;s not 1am. :)<br><br>MIDI control would be great.<br><br><div class="gmail_quote"><div class="Ih2E3d">On Tue, Dec 30, 2008 at 10:48 PM, Lasse juul Kolding <span dir="ltr">&lt;<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>&gt;</span> wrote:<br>

</div><div><div></div><div class="Wj3C7c"><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">Hi Tony,<br><br>I ought to specify that on the website yes.<br>
I have not tested it with Pluggo Runtime, but that is what it&#39;s for so it should work!<br>
Let me know... :)<br><font color="#888888"><br>Lasse</font><div><div></div><div><br><br><br><div class="gmail_quote">
On Wed, Dec 31, 2008 at 3:36 AM, Tony K <span dir="ltr">&lt;<a href="mailto:bigtonyk@gmail.com" target="_blank">bigtonyk@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">











<div link="blue" vlink="purple" lang="EN-US">

<div>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Do I need the full version of Pluggo to run it? Or can I just
get the Pluggo runtime?</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">Tony</span></p>

<p><span style="font-size: 11pt; color: rgb(31, 73, 125);">&nbsp;</span></p>

<div style="border-style: solid none none; border-color: rgb(181, 196, 223) -moz-use-text-color -moz-use-text-color; border-width: 1pt medium medium; padding: 3pt 0in 0in;">

<p><b><span style="font-size: 10pt;">From:</span></b><span style="font-size: 10pt;"> Lasse juul Kolding
[mailto:<a href="mailto:dubbilan@gmail.com" target="_blank">dubbilan@gmail.com</a>] <br>
<b>Sent:</b> Tuesday, December 30, 2008 4:05 PM<br>
<b>To:</b> <a href="mailto:Loopers-Delight@loopers-delight.com" target="_blank">Loopers-Delight@loopers-delight.com</a><br>
<b>Subject:</b> New Software Looper</span></p>

</div><div><div></div><div>

<p>&nbsp;</p>

<p style="margin-bottom: 12pt;">Dear fellow loopers,<br>
<br>
A quick annoucement to tell you about a new looping software called
&quot;Syncopath Performer&quot; ready for download.<br>
<br>
It is 100% Free as a VST for Windows and Intel Mac.<br>
<br>
The current version is called 1.0Beta and so far appears very solid -
especially on Mac where there&#39;s currently no known bugs!<br>
It is made with MIDI controllers like the FCB1010 in mind and is fully
controlled via MIDI.<br>
It has basically perfect synchronization as both Master and Slave of the Host
environment (the testing software has primarilly been Ableton Live 7).<br>
<br>
For more information head over to:<br>
<br>
<a href="Http://www.juvul.com" target="_blank">Http://www.juvul.com</a><br>
<br>
Download links for both Windows and Intel Mac are available.<br>
<br>
Happy Holidays! :)<br>
<br>
Lasse</p>

</div></div><p><span style="font-size: 10pt;">No virus
found in this incoming message.<br>
Checked by AVG - <a href="http://www.avg.com" target="_blank">http://www.avg.com</a><br>
Version: 8.0.176 / Virus Database: 270.10.1/1868 - Release Date: 12/29/2008
10:48 AM</span></p>

</div>

</div>


</blockquote></div><br>
</div></div></blockquote></div></div></div><br><br clear="all"><br>-- <br>-==-=-=- <br><font color="#888888">Tony<br>
</font></blockquote></div><br><br clear="all"><br>-- <br>-==-=-=- <br>Tony<br>

------=_Part_15269_17187932.1230737025026--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 16:59:56 2008
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Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
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Those are all great reasons, Rick. Everyone is going to have their own 
personal and valid reasons why they outsource or make their own product.  It 
is a very interesting topic!

Just for others' reference.....for me, after doing the math, saving let's 
say 50 cents a CD to do it myself, vs. going with Kunaki (which has no up 
front fee, and you can order as few or as many as you like for the same 
price of $1.75, with free UPC code that you will have to pay for yourself 
otherwise), the decision was clear. And even if it were a manner of 
finances, even if I were making my own CDs for only 50 cents, the $1.20 
discrepancy with Kunaki is so insignificant, that I could just counter it by 
charging that much more for my CDs.  This is how businesses would do it 
anyway...you build production costs into your street cost of the project. 
Or if you don't want to charge your customer more, then you just give 
yourself less profit, or you cut operation costs, design costs, etc, etc. 
It all works out in the wash with a balance between profit, customer 
satisfaction, quality, competitive prices, etc.

But I know making homemade CDs isn't just about boring business mechanics 
and running a financially sound business for most people, otherwise, if you 
add up your operation costs (manual labor, etc), and then what you can do 
with this savings (like creating more music, creating lesson plans, reading 
a good book, having sex with your significant other, etc :) --- then the 
cost of opportunities lost in not outsourcing are tremendous. The logic 
would point you directly to outsourcing once you realized what you could do 
with that free time that outweighed any personal satisfaction of creating 
your own production line, in addition to being your own CEO, CFO, marketing, 
R&D, sales force, etc. Folks can probably do this with the low quantity that 
they make and not lose too much lost opportunity costs in the long term, 
though if you had to make thousands you would go out of business and have 
not time to play or record - you would be forced to outsource and change 
your philosophy of CD production.

But this is all not valid if you enjoy making the product yourself and 
controlling the process, despite the arguments that say it is not 
financially sound. All good reasons for people in the arts.  People in the 
arts, I have discovered, do all sorts of quixotic things that make no 
financial sense or keep them financially bereft their whole lives, but it 
makes sense to them in the grand scheme of things, and spiritually and 
emotionally, which carries the most weight.

Kris

----- Original Message ----- 

> Rainer wrote:
> "So basically, if you do not value your own spare time at all (or even
> give it a negative value), then that can be ok, if, on the other hand,
> you value your spare time a great deal (like Krispen), then by all
> means don't make your CDs yourself! It does not pay off."
>
> There are a lot of ways that things can pay us off as you say.  Not all 
> involve money.  Some are economic,  some are time saving,  some
> involve spiritual or personal satisfaction,  etc.     It's hard to 
> quantize in this case for me so I can't agree with
> your assessment of the way I do it.
>
> Let me explain why your approach doesn't appeal to me:
>
>
> What you say WOULD be true if I were in the economic bracket that you and 
> Krispen are in, but I'm not.
>
> What I mean by this is that I don't make very much money (because I live 
> mostly off of my artistry or things related to it, peripherally like 
> teaching, giving seminars, studio work, touring , et. al.)  at all so I 
> have a lot more time than either of you to work on my music.
>
> What I happen to do as an artist in a sense means that I'm not on the 
> clock.
>
> Not that time isn't valuable to me,  but the fact of the matter is that I 
> lay out less actual cash doing it my way than with the Kunaki solution 
> (which, by the way, I think is a wonderful solution for lots of people: 
> especially people with really high paying and time demanding jobs outside 
> of the music, like you and Krispen).
>
> Because my resources are vastly smaller than yours,  it's actually a 
> better alternative for me to do it the way that I do it, merely because I 
> lack the financial resources.
>
> In my own world,  I rationalize this decision by thinking that I would 
> have to go out and do work that is time consuming and not meaningful to me 
> to make more money to put it out in ways that are more expensive.
>
> I think if I were starting over again, however, that I might very well 
> take the route that you are taking (having a good job that derives income 
> not directly related to music) because it's gotten to be so vastly more 
> difficult to make a living as a professional musician than when I was 
> starting out.
> I've just done it for 30 years and I just feel stubbornly (and 
> egotistically) attached to doing it the way I do it.
>
> Additionally,  I get a lot of artistic satisfaction out of doing 
> everything myself.
> I really like being in control of every aspect of my final 'product'.  In 
> order to do this, I have to spend very little money to retain the 
> aesthetic control that pleases me and gives me satisfaction, artistically. 
> I'm down with that compromise.  I actually love doing way more, with very, 
> very little (it's one of the salient reasons that draws me both to found 
> sound and to lo fi toy videography)............I can spend a lot less 
> money on all of it and it spurns me on to be a lot more creative.
>
> Spiritually (and this is just for me: please understand that I"m not 
> putting down anyone who chooses a different path),   I like that I'm 
> involved with every step of the process.
>
> Doing so forces me to learn a lot about all kinds of things that have 
> helped my skill set in music and visual arts,  from designing to 
> production to mastering, etc.  I get to grow a lot as an artist, 
> consequently.
>
> Sure, I'd love to do a killer vinyl release of Dayglo Orange Plastic (in 
> fact, can't you imagine a cool limited run of 200 using Translucent Orange 
> Vinyl?)  but I literally don't have enough money to do that.
>
> It's all good...................I just wanted to pipe in and let people 
> know that there are  a lot of ways to do things in the music industry 
> without going down the typical paths.
>
> And all that said and done,  I have great respect for both yours and 
> Krispen's artistry and all the things you guys chose to do to put your own 
> artistry out to the world.
>
> Happy New Year to you and may 2009 be a really fruitful artistic year for 
> you.
>
> yours,  respectfully,   Rick
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 17:02:37 2008
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>
> So I say..............if you have the resources and you want to go AAA, 
> then by all means do it.
> But there's nothing wrong with doing it anyway..................It's 
> getting it out to the world
> that is the most important thing...........imnsho

Does anyone make a portable, high quality, stereo analog recorder? Not 
multi-track.  Heck, you could just record to a VCR on Super VHS. I used to 
record all my shows in a band a long time ago this way, the the quality was 
amazing....almost as good as CD.

Also, is it possible to make your own vinyl? Is there equipment you can buy 
to press your own?

Kris

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 17:18:04 2008
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Well, sort of.  Here's a story:

Back in the mid-90's, I worked at a indie record store.  There were
literally a half-dozen micro labels being run out of the back room by the
various buyers and clerks.  Most of them were putting out some percentage of
vinyl--45's, EP's and LP's.  One guy decided that it would be better to buy
his own equipment and press his own vinyl, and then offer that service to
others (he was thinking of a co-op style arrangment).  In the days before
eBay, or even widespread net access he managed to hunt down the smallest
vinyl pressing setup he could find, several states away.  As I recall, it
cost $20K to get it bought and delivered.  It was industrial grade
machinery--big heavy things that get moved by several guys, put down and
bolted to the concrete floor.  He had had some money (despite working in a
record store...) and a few investors.
Then he found he needed another $20K in permits, licensing, electrical
upgrades, plumbing upgrades, fire alarms, toxic waste disposal, etc.  Before
he could even switch the thing on.  More investors are found.  The necessary
work is done.  Then he had to learn how to press vinyl.  It's not like
running a Xerox machine, it's more akin to running an off-set printing
press, and takes a lot of instruction and practice.  He went through
hundreds of bad pressings--warped, off-center, cracked, and so on.  All of
which was costly in terms of time--you had to set aside a day to do this,
and monetarily.  Raw vinyl is not free, electricity, etc.  After six months,
he gave up and sold it all off to someone else at a tremendous loss.

So, I'd say unless you're going to go into it whole hog and run it as a
business full time for the next five years, I suspect it's not an viable
option.  Maybe things have changed in the last decade or so.

TH

On Wed, Dec 31, 2008 at 9:02 AM, Krispen Hartung <info@krispenhartung.com>wrote:
>
>
> Also, is it possible to make your own vinyl? Is there equipment you can buy
> to press your own?
>
> Kris
>
>

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<div>Well, sort of. &nbsp;Here&#39;s a story:</div><div><br></div>Back in the mid-90&#39;s, I worked at a indie record store. &nbsp;There were literally a half-dozen micro labels being run out of the back room by the various buyers and clerks. &nbsp;Most of them were putting out some percentage of vinyl--45&#39;s, EP&#39;s and LP&#39;s. &nbsp;One guy decided that it would be better to buy his own equipment and press his own vinyl, and then offer that service to others (he was thinking of a co-op style arrangment). &nbsp;In the days before eBay, or even widespread net access he managed to hunt down the smallest vinyl pressing setup he could find, several states away. &nbsp;As I recall, it cost $20K to get it bought and delivered. &nbsp;It was industrial grade machinery--big heavy things that get moved by several guys, put down and bolted to the concrete floor. &nbsp;He had had some money (despite working in a record store...) and a few investors.<div>
<br></div><div>Then he found he needed another $20K in permits, licensing, electrical upgrades, plumbing upgrades, fire alarms, toxic waste disposal, etc. &nbsp;Before he could even switch the thing on. &nbsp;More investors are found. &nbsp;The necessary work is done. &nbsp;Then he had to learn how to press vinyl. &nbsp;It&#39;s not like running a Xerox machine, it&#39;s more akin to running an off-set printing press, and takes a lot of instruction and practice. &nbsp;He went through hundreds of bad pressings--warped, off-center, cracked, and so on. &nbsp;All of which was costly in terms of time--you had to set aside a day to do this, and monetarily. &nbsp;Raw vinyl is not free, electricity, etc. &nbsp;After six months, he gave up and sold it all off to someone else at a tremendous loss.</div>
<div><br></div><div>So, I&#39;d say unless you&#39;re going to go into it whole hog and run it as a business full time for the next five years, I suspect it&#39;s not an viable option. &nbsp;Maybe things have changed in the last decade or so.</div>
<div><br></div><div>TH<br><div><br><div class="gmail_quote">On Wed, Dec 31, 2008 at 9:02 AM, Krispen Hartung <span dir="ltr">&lt;<a href="mailto:info@krispenhartung.com">info@krispenhartung.com</a>&gt;</span> wrote:<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">

<br>
Also, is it possible to make your own vinyl? Is there equipment you can buy to press your own?<br>
<br>
Kris<br>
<br>
</blockquote></div><br></div></div>

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On Wed, Dec 31, 2008 at 6:02 PM, Krispen Hartung
<info@krispenhartung.com> wrote:

> Also, is it possible to make your own vinyl? Is there equipment you can buy
> to press your own?


Yes. There is a quite expensive machine you can buy to do that. Well,
not "pressing" it per se but rather carving it. Some DJ friends went
that way to press up their vinyls for scratsching as well as to bring
mixes to the club and give them The Critical Dancefloor Pilot Test.
These kind of "carved" vinyls do not last very long though, so it's
not an option for guys that want to seel it.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 17:22:14 2008
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Subject: RE: X-Y vector pad for MIDI foot control?
Date: Wed, 31 Dec 2008 09:22:07 -0800
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I've mentioned this new device before,
http://www.sourceaudio.net/products/hothand/midi_exp.php  and though its not
foot controlled like you are desiring, it does allow for hand movements to
translate XY axis midi events either CC, note on/off, pitch wheel and after
touch, with the wave of your hand. It requires an infra red sensor
accessory, to achieve this I believe, but it does present some interesting
possibilities for triggering effects or midi commands while multi- tasking
on your instruments (playing the suckers). I plan to check it out in detail
when I go to NAMM in a few weeks.
 Bill

-----Original Message-----
From: Per Boysen [mailto:perboysen@gmail.com] 
Sent: Wednesday, December 31, 2008 5:22 AM
To: Loopers-Delight@loopers-delight.com
Subject: X-Y vector pad for MIDI foot control?

Hi,

Is anyone using a KaossPad on the floor for MIDI control by foot? Or
do you have better suggestions? The simpler the better, I only need
two MIDI CC's generated.

I've had enough of hand controlled joystick controllers and want to
find me some MIDI X-Y vector pad "carpet" where I can draw two
parameter's values at once with tip of a toe while using my hands for
other tasks.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 17:23:23 2008
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Subject: Electro-music NYE Streaming Event NOW!!!!
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http://radio.electro-music.com:8050/listen.pls
The lineup:

      Da Killa Jam (done)
      Stephen Goodman (done)
      Edison Rex (playing now as I write this)
      Andrew Octopus
      Antimon
      Fonic (Matthias)
      Kevin Kissinger
      Boiar
      square_wave/[view]
      Modulator ESP
      Michael Victor
      Mark Mahoney
      Earthgirl
      ACOUSTIC INTERLOPER
      Richard Lainhart
      Don Slepian
      Dennis Moser
      Xeroid Entity - Howard Moscovitz, Bill Fox, and Greg Waltzer
      Pehr Meldert
      2%
      Mike Metlay
      Inquisitor Betrayer

Cheers,

Bill

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Good grief. That is way too expensive. I thought by now they would have =
some nifty machine that would just crank them out like Shrinky Dinks.

Maybe we should rebel against vinyl and go back to, was it wax? :)  You =
know, we can record with one of those machines with the horn on it that =
transfers the sound waves to a wax album.

Kris



  ----- Original Message -----=20


  Well, sort of.  Here's a story:


  Back in the mid-90's, I worked at a indie record store.  There were =
literally a half-dozen micro labels being run out of the back room by =
the various buyers and clerks.  Most of them were putting out some =
percentage of vinyl--45's, EP's and LP's.  One guy decided that it would =
be better to buy his own equipment and press his own vinyl, and then =
offer that service to others (he was thinking of a co-op style =
arrangment).  In the days before eBay, or even widespread net access he =
managed to hunt down the smallest vinyl pressing setup he could find, =
several states away.  As I recall, it cost $20K to get it bought and =
delivered.  It was industrial grade machinery--big heavy things that get =
moved by several guys, put down and bolted to the concrete floor.  He =
had had some money (despite working in a record store...) and a few =
investors.


  Then he found he needed another $20K in permits, licensing, electrical =
upgrades, plumbing upgrades, fire alarms, toxic waste disposal, etc.  =
Before he could even switch the thing on.  More investors are found.  =
The necessary work is done.  Then he had to learn how to press vinyl.  =
It's not like running a Xerox machine, it's more akin to running an =
off-set printing press, and takes a lot of instruction and practice.  He =
went through hundreds of bad pressings--warped, off-center, cracked, and =
so on.  All of which was costly in terms of time--you had to set aside a =
day to do this, and monetarily.  Raw vinyl is not free, electricity, =
etc.  After six months, he gave up and sold it all off to someone else =
at a tremendous loss.


  So, I'd say unless you're going to go into it whole hog and run it as =
a business full time for the next five years, I suspect it's not an =
viable option.  Maybe things have changed in the last decade or so.


  TH



  On Wed, Dec 31, 2008 at 9:02 AM, Krispen Hartung =
<info@krispenhartung.com> wrote:

    Also, is it possible to make your own vinyl? Is there equipment you =
can buy to press your own?

    Kris




------=_NextPart_000_017C_01C96B31.F6EBFC40
Content-Type: text/html;
	charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

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<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
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<BODY bgColor=3D#ffffff>
<DIV><FONT face=3DArial size=3D2>Good grief. That is way too expensive. =
I thought by=20
now they would have some nifty machine that would just crank them out =
like=20
Shrinky Dinks.</FONT></DIV>
<DIV><FONT face=3DArial size=3D2></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial size=3D2>Maybe we should rebel against vinyl and =
go back to,=20
was it wax? :)&nbsp; You know, we can record with one of those machines =
with the=20
horn on it that transfers the sound waves to a wax =
album.</FONT></DIV><FONT=20
face=3DArial size=3D2>
<DIV><BR>Kris</DIV>
<DIV></FONT>&nbsp;</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"><BR>&nbsp;</DIV>
  <DIV>Well, sort of. &nbsp;Here's a story:</DIV>
  <DIV><BR></DIV>Back in the mid-90's, I worked at a indie record store. =

  &nbsp;There were literally a half-dozen micro labels being run out of =
the back=20
  room by the various buyers and clerks. &nbsp;Most of them were putting =
out=20
  some percentage of vinyl--45's, EP's and LP's. &nbsp;One guy decided =
that it=20
  would be better to buy his own equipment and press his own vinyl, and =
then=20
  offer that service to others (he was thinking of a co-op style =
arrangment).=20
  &nbsp;In the days before eBay, or even widespread net access he =
managed to=20
  hunt down the smallest vinyl pressing setup he could find, several =
states=20
  away. &nbsp;As I recall, it cost $20K to get it bought and delivered. =
&nbsp;It=20
  was industrial grade machinery--big heavy things that get moved by =
several=20
  guys, put down and bolted to the concrete floor. &nbsp;He had had some =
money=20
  (despite working in a record store...) and a few investors.
  <DIV><BR></DIV>
  <DIV>Then he found he needed another $20K in permits, licensing, =
electrical=20
  upgrades, plumbing upgrades, fire alarms, toxic waste disposal, etc.=20
  &nbsp;Before he could even switch the thing on. &nbsp;More investors =
are=20
  found. &nbsp;The necessary work is done. &nbsp;Then he had to learn =
how to=20
  press vinyl. &nbsp;It's not like running a Xerox machine, it's more =
akin to=20
  running an off-set printing press, and takes a lot of instruction and=20
  practice. &nbsp;He went through hundreds of bad pressings--warped, =
off-center,=20
  cracked, and so on. &nbsp;All of which was costly in terms of =
time--you had to=20
  set aside a day to do this, and monetarily. &nbsp;Raw vinyl is not =
free,=20
  electricity, etc. &nbsp;After six months, he gave up and sold it all =
off to=20
  someone else at a tremendous loss.</DIV>
  <DIV><BR></DIV>
  <DIV>So, I'd say unless you're going to go into it whole hog and run =
it as a=20
  business full time for the next five years, I suspect it's not an =
viable=20
  option. &nbsp;Maybe things have changed in the last decade or =
so.</DIV>
  <DIV><BR></DIV>
  <DIV>TH<BR>
  <DIV><BR>
  <DIV class=3Dgmail_quote>On Wed, Dec 31, 2008 at 9:02 AM, Krispen =
Hartung <SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</A>&gt;</=
SPAN>=20
  wrote:
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0px 0px 0px 0.8ex; BORDER-LEFT: =
#ccc 1px solid"><BR>Also,=20
    is it possible to make your own vinyl? Is there equipment you can =
buy to=20
    press your=20
own?<BR><BR>Kris<BR><BR></BLOCKQUOTE></DIV><BR></DIV></DIV></BLOCKQUOTE><=
/BODY></HTML>

------=_NextPart_000_017C_01C96B31.F6EBFC40--

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From: "L.Angulo" <labaloops@yahoo.com>
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Subject: feedback buster for nylon string
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Hi Loopers,
Is there a feedback reducer for nylon strings like the feedback buster that covers the soundhole for steel string guitars? my recently acquired flamenco guitar has the fishman Prefix Premium Blend with the internal mic and is very sensitive to feedback,so far i havent found anything that fits the soundhole of a nylon string.However the feedback buster solved all problems on my steel string,great and simple gadget!

www.myspace.com/luisangulocom


      

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 17:40:25 2008
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Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
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Kris,
There are links out there,
Get them made,
http://www.independentpressing.com/
Make them out of cds!?,
http://gadgets.boingboing.net/2008/05/09/vinyl-cutter-makes-c.html
Buy one of these, ouch$$
http://www.roadogz.com/stories/downunder/vrx.htm


peace out,

Jeff


----- Original Message ----- 
From: "Krispen Hartung" <info@krispenhartung.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 31, 2008 12:02 PM
Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way 
It's Normally Done


> >
>> So I say..............if you have the resources and you want to go AAA,
>> then by all means do it.
>> But there's nothing wrong with doing it anyway..................It's
>> getting it out to the world
>> that is the most important thing...........imnsho
>
> Does anyone make a portable, high quality, stereo analog recorder? Not
> multi-track.  Heck, you could just record to a VCR on Super VHS. I used to
> record all my shows in a band a long time ago this way, the the quality 
> was
> amazing....almost as good as CD.
>
> Also, is it possible to make your own vinyl? Is there equipment you can 
> buy
> to press your own?
>
> Kris
>


--------------------------------------------------------------------------------



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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 17:56:03 2008
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Subject: Re: Electro-music NYE Streaming Event NOW!!!!
Date: Wed, 31 Dec 2008 17:55:56 -0000
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WHAT?  This wasn't supposed to start for another few hours.  It's presently 
1755 GMT...

----- Original Message ----- 
From: "Bill Fox" <billyfox@soundscapes.us>
To: <undisclosed-recipients:>
Sent: Wednesday, December 31, 2008 5:18 PM
Subject: Electro-music NYE Streaming Event NOW!!!!


> http://radio.electro-music.com:8050/listen.pls
> The lineup:
>
>      Da Killa Jam (done)
>      Stephen Goodman (done)
>      Edison Rex (playing now as I write this)
>      Andrew Octopus
>      Antimon
>      Fonic (Matthias)
>      Kevin Kissinger
>      Boiar
>      square_wave/[view]
>      Modulator ESP
>      Michael Victor
>      Mark Mahoney
>      Earthgirl
>      ACOUSTIC INTERLOPER
>      Richard Lainhart
>      Don Slepian
>      Dennis Moser
>      Xeroid Entity - Howard Moscovitz, Bill Fox, and Greg Waltzer
>      Pehr Meldert
>      2%
>      Mike Metlay
>      Inquisitor Betrayer
>
> Cheers,
>
> Bill
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:00:26 2008
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Subject: Re: X-Y vector pad for MIDI foot control?
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Good grief Per!  Use your TOE to control parameters?  You ARE  
Superman!!!

R
richard sales
www.glasswing.com
www.richardsales.com
www.hayleysales.com

On Dec 31, 2008, at 5:21 AM, Per Boysen wrote:

> Hi,
>
> Is anyone using a KaossPad on the floor for MIDI control by foot? Or
> do you have better suggestions? The simpler the better, I only need
> two MIDI CC's generated.
>
> I've had enough of hand controlled joystick controllers and want to
> find me some MIDI X-Y vector pad "carpet" where I can draw two
> parameter's values at once with tip of a toe while using my hands for
> other tasks.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>

richard sales
www.glasswing.com
www.richardsales.com
www.hayleysales.com







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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">Good grief Per! &nbsp;Use your =
TOE to control parameters? &nbsp;You ARE =
Superman!!!<div><br></div><div>R</div><div><span =
class=3D"Apple-style-span" style=3D"font-size: 12px; "><div><font =
class=3D"Apple-style-span" face=3D"Arial">richard =
sales</font></div><div><font class=3D"Apple-style-span" =
color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><font class=3D"Apple-style-span" =
color=3D"#908E38"><br></font></div></span><div><div>On Dec 31, 2008, at =
5:21 AM, Per Boysen wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote =
type=3D"cite"><div>Hi,<br><br>Is anyone using a KaossPad on the floor =
for MIDI control by foot? Or<br>do you have better suggestions? The =
simpler the better, I only need<br>two MIDI CC's generated.<br><br>I've =
had enough of hand controlled joystick controllers and want to<br>find =
me some MIDI X-Y vector pad "carpet" where I can draw two<br>parameter's =
values at once with tip of a toe while using my hands for<br>other =
tasks.<br><br>Greetings from Sweden<br><br>Per Boysen<br><a =
href=3D"http://www.boysen.se">www.boysen.se</a> (Swedish)<br><a =
href=3D"http://www.looproom.com">www.looproom.com</a> =
(international)<br><a =
href=3D"http://www.ubetoo.com/Artist.taf?_ArtistId=3D6550">www.ubetoo.com/=
Artist.taf?_ArtistId=3D6550</a><br><br></div></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
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auto; -webkit-text-stroke-width: 0px; "><div style=3D"word-wrap: =
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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:04:17 2008
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From: "SP Goodman" <spgoodman@earthlight.net>
To: <Loopers-Delight@loopers-delight.com>
References: <477dfd520812301305v2ca5d3ev5b659aea6a78334b@mail.gmail.com> <1225D3CE-5AFB-4707-B3B7-AC44D25D0395@zoekeating.com> <5C88BDDC2F894FFD8651FC6D2F871030@eluk1> <dec8f8e60812310654i62c13d5bn580855ef37e1b815@mail.gmail.com>
Subject: Re: Tonight's streaming show?
Date: Wed, 31 Dec 2008 18:04:11 -0000
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Is there another GMT on the planet as far as people outside the UK are =
concerned?  I know things are encapsulated here but I didn't think there =
was another Greenwich Mean Time.  Anyone?
  ----- Original Message -----=20
  From: Dennis Moser=20
  To: Loopers-Delight@loopers-delight.com=20
  Sent: Wednesday, December 31, 2008 2:54 PM
  Subject: Re: Tonight's streaming show?


  Yes ... I'm ("usr/sbin") on for 30 minutes, starting at 3:30 AM GMT =
...

  Dennis


  On Tue, Dec 30, 2008 at 10:17 PM, SP Goodman =
<spgoodman@earthlight.net> wrote:

    Is anyone else on the list playing on the electro-music thang =
tonight?
    http://electro-music.com/forum/topic-22830.html

    I hit the virtual pavement at 1930 GMT, only 30 minutes so far... :)

    Stephen Goodman
    *
    http://www.vimeo.com/spgoodman
    http://www.last.fm/music/Stephen+Goodman





  --=20
  http://myspace.com/usrsbin
  http://audiozoloft.com
  http://usrslashsbin.angrek.com/

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charset=3Diso-8859-1">
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<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT size=3D2>Is there another GMT on the planet as far as people =
outside=20
the UK are concerned?&nbsp; I know things are encapsulated here but I =
didn't=20
think there was another Greenwich Mean Time.&nbsp; Anyone?</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=3Dsinsofmachaut@gmail.com =
href=3D"mailto:sinsofmachaut@gmail.com">Dennis=20
  Moser</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, December 31, =
2008 2:54=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Re: Tonight's =
streaming=20
  show?</DIV>
  <DIV><BR></DIV>Yes ... I'm ("usr/sbin") on for 30 minutes, starting at =
3:30 AM=20
  GMT ...<BR><BR>Dennis<BR><BR>
  <DIV class=3Dgmail_quote>On Tue, Dec 30, 2008 at 10:17 PM, SP Goodman =
<SPAN=20
  dir=3Dltr>&lt;<A=20
  =
href=3D"mailto:spgoodman@earthlight.net">spgoodman@earthlight.net</A>&gt;=
</SPAN>=20
  wrote:<BR>
  <BLOCKQUOTE class=3Dgmail_quote=20
  style=3D"PADDING-LEFT: 1ex; MARGIN: 0pt 0pt 0pt 0.8ex; BORDER-LEFT: =
rgb(204,204,204) 1px solid">Is=20
    anyone else on the list playing on the electro-music thang =
tonight?<BR><A=20
    href=3D"http://electro-music.com/forum/topic-22830.html"=20
    =
target=3D_blank>http://electro-music.com/forum/topic-22830.html</A><BR><B=
R>I=20
    hit the virtual pavement at 1930 GMT, only 30 minutes so far...=20
    :)<BR><BR>Stephen Goodman<BR>*<BR><A =
href=3D"http://www.vimeo.com/spgoodman"=20
    target=3D_blank>http://www.vimeo.com/spgoodman</A><BR><A=20
    href=3D"http://www.last.fm/music/Stephen+Goodman"=20
    =
target=3D_blank>http://www.last.fm/music/Stephen+Goodman</A><BR><BR></BLO=
CKQUOTE></DIV><BR><BR=20
  clear=3Dall><BR>-- <BR><A=20
  =
href=3D"http://myspace.com/usrsbin">http://myspace.com/usrsbin</A><BR><A =

  href=3D"http://audiozoloft.com">http://audiozoloft.com</A><BR><A=20
  =
href=3D"http://usrslashsbin.angrek.com/">http://usrslashsbin.angrek.com/<=
/A><BR></BLOCKQUOTE></BODY></HTML>

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:12:04 2008
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Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
Date: Wed, 31 Dec 2008 10:12:01 -0800
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There is a cheaper path but I can't remember how it worked.  But I  
(Jefferson Street Jug Band) recorded for Fonotone Records (Joe  
Bussard) in 1968 or so and he had a fairly inexpensive pressing  
machine there where he could do vinyl one offs.  You COULD try to  
contact Joe.  He lives in Frederick Maryland.  He's gotta be rather  
old by now, and he's become a bit of a celebrity with documentaries  
etc about him.

But there WAS a way besides the full on pressing machine.  But the way  
Joe did it was sort of the equivalent of CDRs.

Possibly someone else on the list has already mentioned this.  I  
generally do fast scans of topics and have to reply on the run so  
forgive me if this is repeating someone else's answer.

If any of you can find the answer to the dilemma of making records and  
real money at the same time you will have solved a problem an awful  
lot of very high falootin' people are trying to solve.  My wild guess  
is it will be some kind of new format for presenting recorded music  
that's just too glorious sounding, or big, or requires special  
hardware... to download on the web.

R


On Dec 31, 2008, at 9:18 AM, Travis Hartnett wrote:

> Well, sort of.  Here's a story:
>
> Back in the mid-90's, I worked at a indie record store.  There were  
> literally a half-dozen micro labels being run out of the back room  
> by the various buyers and clerks.  Most of them were putting out  
> some percentage of vinyl--45's, EP's and LP's.  One guy decided that  
> it would be better to buy his own equipment and press his own vinyl,  
> and then offer that service to others (he was thinking of a co-op  
> style arrangment).  In the days before eBay, or even widespread net  
> access he managed to hunt down the smallest vinyl pressing setup he  
> could find, several states away.  As I recall, it cost $20K to get  
> it bought and delivered.  It was industrial grade machinery--big  
> heavy things that get moved by several guys, put down and bolted to  
> the concrete floor.  He had had some money (despite working in a  
> record store...) and a few investors.
>
> Then he found he needed another $20K in permits, licensing,  
> electrical upgrades, plumbing upgrades, fire alarms, toxic waste  
> disposal, etc.  Before he could even switch the thing on.  More  
> investors are found.  The necessary work is done.  Then he had to  
> learn how to press vinyl.  It's not like running a Xerox machine,  
> it's more akin to running an off-set printing press, and takes a lot  
> of instruction and practice.  He went through hundreds of bad  
> pressings--warped, off-center, cracked, and so on.  All of which was  
> costly in terms of time--you had to set aside a day to do this, and  
> monetarily.  Raw vinyl is not free, electricity, etc.  After six  
> months, he gave up and sold it all off to someone else at a  
> tremendous loss.
>
> So, I'd say unless you're going to go into it whole hog and run it  
> as a business full time for the next five years, I suspect it's not  
> an viable option.  Maybe things have changed in the last decade or so.
>
> TH
>
> On Wed, Dec 31, 2008 at 9:02 AM, Krispen Hartung <info@krispenhartung.com 
> > wrote:
>
> Also, is it possible to make your own vinyl? Is there equipment you  
> can buy to press your own?
>
> Kris
>
>

richard sales
www.glasswing.com
www.richardsales.com
www.hayleysales.com







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<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">There is a cheaper path but I =
can't remember how it worked. &nbsp;But I (Jefferson Street Jug Band) =
recorded for Fonotone Records (Joe Bussard) in 1968 or so and he had a =
fairly inexpensive pressing machine there where he could do vinyl one =
offs. &nbsp;You COULD try to contact Joe. &nbsp;He lives in Frederick =
Maryland. &nbsp;He's gotta be rather old by now, and he's become a bit =
of a celebrity with documentaries etc about =
him.&nbsp;<div><br></div><div>But there WAS a way besides the full on =
pressing machine. &nbsp;But the way Joe did it was sort of the =
equivalent of CDRs. &nbsp;</div><div><br></div><div>Possibly someone =
else on the list has already mentioned this. &nbsp;I generally do fast =
scans of topics and have to reply on the run so forgive me if this is =
repeating someone else's answer.</div><div><br></div><div>If any of you =
can find the answer to the dilemma of making records and real money at =
the same time you will have solved a problem an awful lot of very high =
falootin' people are trying to solve. &nbsp;My wild guess is it will be =
some kind of new format for presenting recorded music that's just too =
glorious sounding, or big, or requires special hardware... to download =
on the web. =
&nbsp;</div><div><br></div><div>R</div><div><br></div><div><br><div><div>O=
n Dec 31, 2008, at 9:18 AM, Travis Hartnett wrote:</div><br =
class=3D"Apple-interchange-newline"><blockquote type=3D"cite"><div>Well, =
sort of. &nbsp;Here's a story:</div><div><br></div>Back in the mid-90's, =
I worked at a indie record store. &nbsp;There were literally a =
half-dozen micro labels being run out of the back room by the various =
buyers and clerks. &nbsp;Most of them were putting out some percentage =
of vinyl--45's, EP's and LP's. &nbsp;One guy decided that it would be =
better to buy his own equipment and press his own vinyl, and then offer =
that service to others (he was thinking of a co-op style arrangment). =
&nbsp;In the days before eBay, or even widespread net access he managed =
to hunt down the smallest vinyl pressing setup he could find, several =
states away. &nbsp;As I recall, it cost $20K to get it bought and =
delivered. &nbsp;It was industrial grade machinery--big heavy things =
that get moved by several guys, put down and bolted to the concrete =
floor. &nbsp;He had had some money (despite working in a record =
store...) and a few investors.<div> <br></div><div>Then he found he =
needed another $20K in permits, licensing, electrical upgrades, plumbing =
upgrades, fire alarms, toxic waste disposal, etc. &nbsp;Before he could =
even switch the thing on. &nbsp;More investors are found. &nbsp;The =
necessary work is done. &nbsp;Then he had to learn how to press vinyl. =
&nbsp;It's not like running a Xerox machine, it's more akin to running =
an off-set printing press, and takes a lot of instruction and practice. =
&nbsp;He went through hundreds of bad pressings--warped, off-center, =
cracked, and so on. &nbsp;All of which was costly in terms of time--you =
had to set aside a day to do this, and monetarily. &nbsp;Raw vinyl is =
not free, electricity, etc. &nbsp;After six months, he gave up and sold =
it all off to someone else at a tremendous loss.</div> =
<div><br></div><div>So, I'd say unless you're going to go into it whole =
hog and run it as a business full time for the next five years, I =
suspect it's not an viable option. &nbsp;Maybe things have changed in =
the last decade or so.</div> <div><br></div><div>TH<br><div><br><div =
class=3D"gmail_quote">On Wed, Dec 31, 2008 at 9:02 AM, Krispen Hartung =
<span dir=3D"ltr">&lt;<a =
href=3D"mailto:info@krispenhartung.com">info@krispenhartung.com</a>></span=
> wrote:<blockquote class=3D"gmail_quote" style=3D"margin:0 0 0 =
.8ex;border-left:1px #ccc solid;padding-left:1ex;"> <br> Also, is it =
possible to make your own vinyl? Is there equipment you can buy to press =
your own?<br> <br> Kris<br> <br> =
</blockquote></div><br></div></div></blockquote></div><br><div =
apple-content-edited=3D"true"> <span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; 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 style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><span class=3D"Apple-style-span" =
style=3D"border-collapse: separate; color: rgb(0, 0, 0); font-family: =
Helvetica; font-size: 18px; font-style: normal; font-variant: normal; =
font-weight: normal; letter-spacing: normal; line-height: normal; =
orphans: 2; 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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><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-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: 0px; "><div style=3D"word-wrap: =
break-word; -webkit-nbsp-mode: space; -webkit-line-break: =
after-white-space; "><div><font class=3D"Apple-style-span" =
face=3D"Arial">richard sales</font></div><div><font =
class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.glasswing.com">www.glasswing.com</a></font></div><div><=
font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.richardsales.com">www.richardsales.com</a></font></div>=
<div><font class=3D"Apple-style-span" color=3D"#908E38"><a =
href=3D"http://www.hayleysales.com">www.hayleysales.com</a></font></div><d=
iv><br></div></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"></div></span><br =
class=3D"Apple-interchange-newline"> </div><br></div></body></html>=

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Message-ID: <66f9cc1e0812311013t7fbb4a90v3cda7be1bf6744df@mail.gmail.com>
Date: Wed, 31 Dec 2008 19:13:16 +0100
From: "Per Boysen" <perboysen@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: Re: Electro-music NYE Streaming Event NOW!!!!
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Well, I first enjoyed some "random synth patch hick-up" music named
"Getting ready for NYE - mosc noodle" and then suddenly Edison Rex was
on air. But now the stream is back to the "mosc noodle" again.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550



On Wed, Dec 31, 2008 at 6:55 PM, SP Goodman <spgoodman@earthlight.net> wrote:
> WHAT?  This wasn't supposed to start for another few hours.  It's presently
> 1755 GMT...

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On Wed, Dec 31, 2008 at 7:04 PM, SP Goodman <spgoodman@earthlight.net> wrote:
> Is there another GMT on the planet as far as people outside the UK are
> concerned?  I know things are encapsulated here but I didn't think there was
> another Greenwich Mean Time.  Anyone?


I don't think so. I had the same thought so I Googled it and found
proof at Wikipedia. GMT is till Greenwich Mean Time and
Stockholm/Berlin, my time zone, is GMT +1.

Greetings from Sweden

Per Boysen
www.boysen.se (Swedish)
www.looproom.com (international)
www.ubetoo.com/Artist.taf?_ArtistId=6550

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:27:05 2008
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Date: Wed, 31 Dec 2008 13:27:00 -0500
From: "Todd Matthews" <gtmatthews@gmail.com>
To: Loopers-Delight@loopers-delight.com
Subject: FCB1010 DOwn button
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------=_Part_146139_26651561.1230748020706
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I just got a FCB1010 and I was about to program the thing when I noticed the
up button scrolls up through banks 0-9 but pressing the down button doesn't
do anything. Is this because it is not properly setup or could this be a bad
unit that I need to send back?


Todd

------=_Part_146139_26651561.1230748020706
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I just got a FCB1010 and I was about to program the thing when I noticed the up button scrolls up through banks 0-9 but pressing the down button doesn&#39;t do anything. Is this because it is not properly setup or could this be a bad unit that I need to send back?<br>
<br><br>Todd<br>

------=_Part_146139_26651561.1230748020706--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:44:48 2008
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Date: Wed, 31 Dec 2008 12:44:47 -0600
From: kkissinger@kevinkissinger.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: Tonight's streaming show?
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The first slot is at 1900 GMT, just under 15 minutes from now.  I have =20
a slot at 2200 GMT.

They are just testing the server, etc. now.

On electro-music, a "noodle" is an evolving synth patch.  Mosc (Howard =20
Moscovitz) creates noodles on a Nord synth  (the Nord has a big =20
following on electro-music.com).

I'm presenting an ambient work entitled "Serene Whirled" -- so no =20
loopage from me -- just synth stuff.  I am recovering from a nasty =20
headcold which kept me out of the studio thus I had to scrap my plans =20
to do a live-looping set.  Maybe next year :)

-- Kevin

Quoting Per Boysen <perboysen@gmail.com>:

> On Wed, Dec 31, 2008 at 7:04 PM, SP Goodman <spgoodman@earthlight.net> wro=
te:
>> Is there another GMT on the planet as far as people outside the UK are
>> concerned?  I know things are encapsulated here but I didn't think there =
was
>> another Greenwich Mean Time.  Anyone?
>
>
> I don't think so. I had the same thought so I Googled it and found
> proof at Wikipedia. GMT is till Greenwich Mean Time and
> Stockholm/Berlin, my time zone, is GMT +1.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=3D6550
>
>



From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:44:53 2008
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Date: Wed, 31 Dec 2008 19:44:48 +0100
From: "mark francombe" <mark@markfrancombe.com>
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Subject: Re: X-Y vector pad for MIDI foot control?
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Whats so weird about that??? There WAS a time that I had lots of
pedals with those soft rubbery covers on (that you USED to get
everywhere.. havent seen em for a while) and be changing things with
my toe the whole time... I get it was before everyone used Boss sized
pedal.. kinda impossible with those knobs...

m

On Wed, Dec 31, 2008 at 7:00 PM, richard sales <richard@glasswing.com> wrote:
> Good grief Per!  Use your TOE to control parameters?  You ARE Superman!!!
> R
> richard sales
> www.glasswing.com
> www.richardsales.com
> www.hayleysales.com
> On Dec 31, 2008, at 5:21 AM, Per Boysen wrote:
>
> Hi,
>
> Is anyone using a KaossPad on the floor for MIDI control by foot? Or
> do you have better suggestions? The simpler the better, I only need
> two MIDI CC's generated.
>
> I've had enough of hand controlled joystick controllers and want to
> find me some MIDI X-Y vector pad "carpet" where I can draw two
> parameter's values at once with tip of a toe while using my hands for
> other tasks.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
> richard sales
> www.glasswing.com
> www.richardsales.com
> www.hayleysales.com
>
>
>
>
>
>



-- 
www.markfrancombe.com
http://vimeo.com/user825094
http://uk.youtube.com/user/markfrancombe
http://www.myspace.com/markfrancombe
www.looop.no

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I'm just gonna see where the Godin want's to go tonight ... I start at 3:30
AM GMT, if any one is still up over there!

Dennis

On Wed, Dec 31, 2008 at 1:44 PM, <kkissinger@kevinkissinger.com> wrote:

> The first slot is at 1900 GMT, just under 15 minutes from now.  I have a
> slot at 2200 GMT.
>
> They are just testing the server, etc. now.
>
> On electro-music, a "noodle" is an evolving synth patch.  Mosc (Howard
> Moscovitz) creates noodles on a Nord synth  (the Nord has a big following on
> electro-music.com).
>
> I'm presenting an ambient work entitled "Serene Whirled" -- so no loopage
> from me -- just synth stuff.  I am recovering from a nasty headcold which
> kept me out of the studio thus I had to scrap my plans to do a live-looping
> set.  Maybe next year :)
>
> -- Kevin
>
>
> Quoting Per Boysen <perboysen@gmail.com>:
>
>  On Wed, Dec 31, 2008 at 7:04 PM, SP Goodman <spgoodman@earthlight.net>
>> wrote:
>>
>>> Is there another GMT on the planet as far as people outside the UK are
>>> concerned?  I know things are encapsulated here but I didn't think there
>>> was
>>> another Greenwich Mean Time.  Anyone?
>>>
>>
>>
>> I don't think so. I had the same thought so I Googled it and found
>> proof at Wikipedia. GMT is till Greenwich Mean Time and
>> Stockholm/Berlin, my time zone, is GMT +1.
>>
>> Greetings from Sweden
>>
>> Per Boysen
>> www.boysen.se (Swedish)
>> www.looproom.com (international)
>> www.ubetoo.com/Artist.taf?_ArtistId=6550
>>
>>
>>
>
>
>


-- 
http://myspace.com/usrsbin
http://audiozoloft.com
http://usrslashsbin.angrek.com/

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I&#39;m just gonna see where the Godin want&#39;s to go tonight ... I start at 3:30 AM GMT, if any one is still up over there!<br><br>Dennis<br><br><div class="gmail_quote">On Wed, Dec 31, 2008 at 1:44 PM,  <span dir="ltr">&lt;<a href="mailto:kkissinger@kevinkissinger.com">kkissinger@kevinkissinger.com</a>&gt;</span> wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">The first slot is at 1900 GMT, just under 15 minutes from now. &nbsp;I have a slot at 2200 GMT.<br>

<br>
They are just testing the server, etc. now.<br>
<br>
On electro-music, a &quot;noodle&quot; is an evolving synth patch. &nbsp;Mosc (Howard Moscovitz) creates noodles on a Nord synth &nbsp;(the Nord has a big following on <a href="http://electro-music.com" target="_blank">electro-music.com</a>).<br>

<br>
I&#39;m presenting an ambient work entitled &quot;Serene Whirled&quot; -- so no loopage from me -- just synth stuff. &nbsp;I am recovering from a nasty headcold which kept me out of the studio thus I had to scrap my plans to do a live-looping set. &nbsp;Maybe next year :)<br>

<br>
-- Kevin<div><div></div><div class="Wj3C7c"><br>
<br>
Quoting Per Boysen &lt;<a href="mailto:perboysen@gmail.com" target="_blank">perboysen@gmail.com</a>&gt;:<br>
<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
On Wed, Dec 31, 2008 at 7:04 PM, SP Goodman &lt;<a href="mailto:spgoodman@earthlight.net" target="_blank">spgoodman@earthlight.net</a>&gt; wrote:<br>
<blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
Is there another GMT on the planet as far as people outside the UK are<br>
concerned? &nbsp;I know things are encapsulated here but I didn&#39;t think there was<br>
another Greenwich Mean Time. &nbsp;Anyone?<br>
</blockquote>
<br>
<br>
I don&#39;t think so. I had the same thought so I Googled it and found<br>
proof at Wikipedia. GMT is till Greenwich Mean Time and<br>
Stockholm/Berlin, my time zone, is GMT +1.<br>
<br>
Greetings from Sweden<br>
<br>
Per Boysen<br>
<a href="http://www.boysen.se" target="_blank">www.boysen.se</a> (Swedish)<br>
<a href="http://www.looproom.com" target="_blank">www.looproom.com</a> (international)<br>
<a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6550" target="_blank">www.ubetoo.com/Artist.taf?_ArtistId=6550</a><br>
<br>
<br>
</blockquote>
<br>
<br>
<br>
</div></div></blockquote></div><br><br clear="all"><br>-- <br><a href="http://myspace.com/usrsbin">http://myspace.com/usrsbin</a><br><a href="http://audiozoloft.com">http://audiozoloft.com</a><br><a href="http://usrslashsbin.angrek.com/">http://usrslashsbin.angrek.com/</a><br>


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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 18:53:18 2008
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This has been a very interesting discussion.  The points below seem valid to me, but there may be some mitigation.

Several years ago I offered to coordinate a Holiday CD of songs grouped around the concept of "Peace On Earth" to be sent as a free bonus for a small indie outfit in OK.  The artists all donated their music and I did the overall mastering and sequencing.  I used my Alesis Masterlink ML-9600 which makes red-book compliant copies but takes about 20 minutes to burn a single 70 minutes of music.  I had the artwork printed up as a contribution by another member of the group who ran a small print shop.  Now, how to manufacture 500 of these without being a slave?

I set-up the ML-9600, CD cases, an egg timer, and pre-folded artwork on a work table in my living room and gave basic instructions to my wife and friends.  Whenever anyone was in the house, they would plop in a CD, set the timer for 20 minutes, and go on with whatever else they were doing. Whenever we were watching TV, we would just keep pushing out CD copies and inserting them with the artwork into the cases.

It took less than a month to complete the 500.  At no time after creating the master copy did I spend any time on it when I wasn't doing something else with my time (reading, TV, listening to music, playing with the dog & cats, washing dishes, etc.).

I do like to calculate the value of my personal time in deciding how to spend it.  In this case, multi-tasking and the help of others were the only viable way to make this cost-effective.

The power supply in the ML-9600 died at copy 503.  Thankfully, Alesis was good about covering the cost of the replacement (it was the second time it had blown and it turned out it was a universal defect in the very early runs and since fixed in the design).


-----Original Message-----
>From: Rainer Straschill <moinsound@googlemail.com>
>Sent: Dec 31, 2008 2:53 AM
>To: loopers-delight@loopers-delight.com
>Subject: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
>
>Rick said (about handmade CDs):
>"Anyway,   This keeps my cost down to well under a dollar per unit. If
>I do sell a CD then I am making $9 - $14 profit PER CD depending on
>who buys it."
>
>Really, Rick? By my calculation, that would mean that your hourly rate
>while doing this is -$1.1 ;). Seriously, by my calculation, counting
>in equipment use (ink etc.) but not equipment depreciation and things
>like electrical power etc., you can come out slightly below the kunaki
>price (at something like $1.35) - however NOT counting in any
>logistics processes (actually going out and buying stuff and thus
>wasting gas, or ordering it by mail and thus having to pay for
>that...), and, more importantly, no manual labour.
>
>So basically, if you do not value your own spare time at all (or even
>give it a negative value), then that can be ok, if, on the other hand,
>you value your spare time a great deal (like Krispen), then by all
>means don't make your CDs yourself! It does not pay off.
>
>            Rainer
>
>(an interesting topic: how much worth is your spare time? A business
>administrator would say it's the net hourly rate he earns when doing
>work - which could vary from zero (or strictly speaking, a negative
>value) for someone on the dole to something well in the three-figure
>range for e.g. Krispen, making the outsourcing more valuable to him
>then to you because his time is so much more expensive than yours. An
>economist would actually ask "how much is it worth to the person in
>question?". This could vary greatly from the figures we got before,
>because while you, although not a big earner, have a lot to do in your
>spare time, could actually value that more than a highly successful
>lawyer who spends his spare time sitting in his multi-million dollar
>house and being bored).
>

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 19:29:01 2008
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Date: Wed, 31 Dec 2008 14:28:59 -0500
From: "Warren Sirota" <wsirota@wsdesigns.com>
Sender: warrensirota@gmail.com
To: Loopers-Delight@loopers-delight.com
Subject: Re: FCB1010 DOwn button
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sounds like a bad unit to me.

On Wed, Dec 31, 2008 at 1:27 PM, Todd Matthews <gtmatthews@gmail.com> wrote:

> I just got a FCB1010 and I was about to program the thing when I noticed
> the up button scrolls up through banks 0-9 but pressing the down button
> doesn't do anything. Is this because it is not properly setup or could this
> be a bad unit that I need to send back?
>
>
> Todd
>



-- 
Warren
http://www.ubetoo.com/Artist.taf?_ArtistId=6679
http://www.warrensirota.com

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sounds like a bad unit to me.<br><br><div class="gmail_quote">On Wed, Dec 31, 2008 at 1:27 PM, Todd Matthews <span dir="ltr">&lt;<a href="mailto:gtmatthews@gmail.com">gtmatthews@gmail.com</a>&gt;</span> wrote:<br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
I just got a FCB1010 and I was about to program the thing when I noticed the up button scrolls up through banks 0-9 but pressing the down button doesn&#39;t do anything. Is this because it is not properly setup or could this be a bad unit that I need to send back?<br>
<font color="#888888">
<br><br>Todd<br>
</font></blockquote></div><br><br clear="all"><br>-- <br>Warren<br><a href="http://www.ubetoo.com/Artist.taf?_ArtistId=6679">http://www.ubetoo.com/Artist.taf?_ArtistId=6679</a><br><a href="http://www.warrensirota.com">http://www.warrensirota.com</a><br>


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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 19:37:53 2008
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Subject: Re: feedback buster for nylon string
Date: Wed, 31 Dec 2008 12:37:48 -0700
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The best method I have ever used, is to buy a black balloon, and blow it up 
inside the sound hole (not too tight, just enough to seal off the sound 
hole).  Tie it off and turn it around so that you don't see the end. It is 
amazing, and costs about 3 cents. :)   I learned it from an old jazzer years 
ago.

Kris

----- Original Message ----- 


> Hi Loopers,
> Is there a feedback reducer for nylon strings like the feedback buster 
> that covers the soundhole for steel string guitars? my recently acquired 
> flamenco guitar has the fishman Prefix Premium Blend with the internal mic 
> and is very sensitive to feedback,so far i havent found anything that fits 
> the soundhole of a nylon string.However the feedback buster solved all 
> problems on my steel string,great and simple gadget!
>
> www.myspace.com/luisangulocom
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 19:59:16 2008
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Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way It's Normally Done
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> Kris,
> There are links out there,
> Get them made,
> http://www.independentpressing.com/

Cool. Do you know what they charge or 250 albums and 1000 sleaves (min 
order)?

Kris


> Make them out of cds!?,
> http://gadgets.boingboing.net/2008/05/09/vinyl-cutter-makes-c.html

Great green idea.

> Buy one of these, ouch$$
> http://www.roadogz.com/stories/downunder/vrx.htm
>
>
> peace out,
>
> Jeff
>
>
> ----- Original Message ----- 
> From: "Krispen Hartung" <info@krispenhartung.com>
> To: <Loopers-Delight@loopers-delight.com>
> Sent: Wednesday, December 31, 2008 12:02 PM
> Subject: Re: Beer Budget CD Release Strategy as an Alternative to The Way 
> It's Normally Done
>
>
>> >
>>> So I say..............if you have the resources and you want to go AAA,
>>> then by all means do it.
>>> But there's nothing wrong with doing it anyway..................It's
>>> getting it out to the world
>>> that is the most important thing...........imnsho
>>
>> Does anyone make a portable, high quality, stereo analog recorder? Not
>> multi-track.  Heck, you could just record to a VCR on Super VHS. I used 
>> to
>> record all my shows in a band a long time ago this way, the the quality 
>> was
>> amazing....almost as good as CD.
>>
>> Also, is it possible to make your own vinyl? Is there equipment you can 
>> buy
>> to press your own?
>>
>> Kris
>>
>
>
> --------------------------------------------------------------------------------
>
>
>
> No virus found in this incoming message.
> Checked by AVG - http://www.avg.com
> Version: 8.0.176 / Virus Database: 270.10.1/1870 - Release Date: 
> 12/31/2008 8:44 AM
>
> 

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	 <000301c96af0$9e8b62c0$dba22840$@com>
	 <477dfd520812301948k3a7de09du929fc3f02f86dedf@mail.gmail.com>
	 <d1dcce560812310653h6cf648b7j91c8ef84ef503fe6@mail.gmail.com>
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Any instructions for using as master sync with Live?

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Any instructions for using as master sync with Live?&nbsp;

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From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 20:43:01 2008
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Subject: Re: Electro-music NYE Streaming Event NOW!!!!
Date: Wed, 31 Dec 2008 20:42:54 -0000
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Well, that was weird.  Came upstairs just in time to jump on the stream - 
I'd thought I was being told that the thing had started 3 hours earlier than 
I'd thought... Ah well I think it went well though I suspect the drum bits 
(from a WAV file as I didn't have enough time to screw with FLSTudio) got 
pegged a bit.  Of course I forgot to turn my Windows sounds off.  There's a 
click generated at random points by something in the Javascript running the 
chat area.

Whew, that was fun.  Thank God I wasn't late or something.

----- Original Message ----- 
From: "Per Boysen" <perboysen@gmail.com>
To: <Loopers-Delight@loopers-delight.com>
Sent: Wednesday, December 31, 2008 6:13 PM
Subject: Re: Electro-music NYE Streaming Event NOW!!!!


> Well, I first enjoyed some "random synth patch hick-up" music named
> "Getting ready for NYE - mosc noodle" and then suddenly Edison Rex was
> on air. But now the stream is back to the "mosc noodle" again.
>
> Greetings from Sweden
>
> Per Boysen
> www.boysen.se (Swedish)
> www.looproom.com (international)
> www.ubetoo.com/Artist.taf?_ArtistId=6550
>
>
>
> On Wed, Dec 31, 2008 at 6:55 PM, SP Goodman <spgoodman@earthlight.net> 
> wrote:
>> WHAT?  This wasn't supposed to start for another few hours.  It's 
>> presently
>> 1755 GMT...
>
>
>
>
> 

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:06:27 2008
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  What is spare time?
"...an interesting topic: how much worth is your spare time?"=

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&nbsp=3B What is spare time?<br><pre>"...an interesting topic: how much wor=
th is your spare time?"</pre></body>
</html>=

--_d023df34-c58a-44d4-958c-3f23461edef2_--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:16:23 2008
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 It's Normally Done
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Krispen wrote:
"Folks can probably do this with the low quantity that they make and not 
lose too much lost opportunity costs in the long term, though if you had 
to make thousands you would go out of business and have not time to play 
or record - you would be forced to outsource and change your philosophy 
of CD production."


Exactly, Krispen, and my own strategy is devised to handle a fairly 
small fun of CDs

My own plan is always that if a sudden massive demand came in (not 
likely, but I never want to limit myself to a concept)
then you can turn over the artwork to someone else to do all of the 
work.   At that point, you'd be making enough money to
justify adding to the expense of your CD duplication process.

In fact,  after the next imminent 3 DVD release (Lemon, Orange,  Ruby 
Grapefruit) and one more abstract electronica CD that I"m considering 
putting out putting out,
(BLUE EYE)   I will be probably be ending my long running
color series of releases and I proabably WILL go the Kunaki route for 
subsequent releases.

Thanks for your acknowledgment of my process.
There seems to be a disturbing trend of making people wrong because they 
don't agreee with one's own personal strategy that creeps up
on this list occasionally and it's nice to have a dialectic about it all 
that informs and helps us grow as we express our own aesthetic
and technical approaches to things.


From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:18:16 2008
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Subject: Vinyl
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    Vinyl is so ou of style that chances are pretty good one could find old=
 cutting lathes etc. somewhere sitting in a warehouse=2Cbasement=2Cfleamark=
et for cheap. I wonder how much of that gear has gone to the dump.

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&nbsp=3B&nbsp=3B&nbsp=3B Vinyl is so ou of style that chances are pretty go=
od one could find old cutting lathes etc. somewhere sitting in a warehouse=
=2Cbasement=2Cfleamarket for cheap. I wonder how much of that gear has gone=
 to the dump.<br></body>
</html>=

--_328e6d70-9383-4ad1-a027-aa8c1f72ec39_--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:23:13 2008
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This is a multi-part message in MIME format.

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And when you get that flat on the way home:
  How much is your spare worth?
  ----- Original Message -----=20
  From: samba -=20
  To: loopers-delight@loopers-delight.com=20
  Sent: Wednesday, December 31, 2008 9:06 PM
  Subject: Beer Budget CD Release Strategy


    What is spare time?

"...an interesting topic: how much worth is your spare time?"
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<BODY class=3Dhmmessage bgColor=3D#ffffff>
<DIV><FONT face=3D"Trebuchet MS">And when you get that flat on the way=20
home:</FONT></DIV>
<BLOCKQUOTE dir=3Dltr style=3D"MARGIN-RIGHT: 0px">
  <DIV><FONT face=3D"Courier New">How much is your spare=20
worth?</FONT></DIV></BLOCKQUOTE>
<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=3Dsambacomet@hotmail.com =
href=3D"mailto:sambacomet@hotmail.com">samba=20
  -</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, December 31, =
2008 9:06=20
  PM</DIV>
  <DIV style=3D"FONT: 10pt arial"><B>Subject:</B> Beer Budget CD Release =

  Strategy</DIV>
  <DIV><BR></DIV>&nbsp; What is spare time?<BR><PRE>"...an interesting =
topic: how much worth is your spare =
time?"</PRE></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_000D_01C96B8D.F89561B0--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:33:21 2008
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Subject: DEFINING CULTURAL YEAR of THE DECADE?
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Happy New Years,  EVERYBODY!

I was meditating on what this next year will bring artistically for our 
community.

Here's what I thought:

We haven't had a defining cultural year in this past decade yet  ( like 
'68 in the sixties,  '75 in the 70's ,   '82 in the 80's,   etc.)
so this feels like the right year to make a very, very strong cultural 
imprint on history.

Because I"ve been involved in a lot of interviews in recent months and 
also in correspondances with
loopers,loop promoters, journalists, radio DJs and others,  I have 
noticed that there has
been a huge proliferation of interest in live looping in the past year 
alone.  There has also been an
attendant surge in new software and features in hardware and the 
creation of new techniques commensorately.

 From talking to journalists, I have also noticed that our community is 
now very solidly on their radar whereas
five years ago, we were just a blip.

In the past couple of years a lot of new high profile artists have 
emerged from the
pop and jazz worlds and started incorporating live looping in their 
musical  sets.

I say that we make a huge concerted effort this coming year to release 
new records in this community
and help make live looping be one of the emergent trends of this past 
decade, historically speaking.

If you've been telling yourself that you really should finish that 
project you've been working on forever---
I exhort you to put it out this year, or even get up off of the couch 
and push play on  the plethora of high quality recorders (both portable and
computer or analogue based that now exist)  if you weren't thinking 
about making a release this year.

You can reference the excellent thread on how to release a new project 
in the new digital era and
even on a budget (of money ,  or time )

Some famous visual artist once said that 'being prolific is a form of 
generosity' 

In that spirit,

I'll book anyone who debuts a CD this year at the Y2K9 International  
Live Looping Festival,  hands down,  no questions asked!

Here's to this wonderful community and all of it's amazing members.
It's been a huge blessing in my own life to be here with you all.

Happy New Years and may 2009  define our decade in the coming years.

Rick Walker


 
..................




From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:46:36 2008
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last of the vid footage from Norwich 2008.
(more audio to come...of course)

http://uk.youtube.com/watch?v=IGGMO-VPACA

a shaky video of Jeremy Trantor & Chris Leeds being joined for the very 
first time by
Stephen Scott at the Sainsbury Centre for Visual Arts (University of 
East Anglia).

There's also a bit of psuedo footage of Per Boysen and myself making our 
debut
as a duo. Still photos of the performance as a slide show with some of 
the audio playing,
gives quite a good impression of what it was like.

andy butler


From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 21:52:54 2008
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Subject: Re: Vinyl
Date: Wed, 31 Dec 2008 14:52:49 -0700
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Is it really out of style? What do you make of this:

http://www.wired.com/entertainment/music/commentary/listeningpost/2007/10=
/listeningpost_1029

http://www.chicagoreader.com/features/stories/sharpdarts/080424/

"Talk to almost anyone in the music business' vital indie and DJ scenes =
and you'll encounter a uniformly optimistic picture of the vinyl =
market."


"I'm hearing from labels and distributors that vinyl is way up," said =
Ian Connelly, client relations manager of independent distributor =
alliance IODA, in an e-mail interview. "And not just the boutique, =
limited-edition colored vinyl that Jesu/Isis-style fans are hot for =
right now."


"Pressing plants are ramping up production, but where is the demand =
coming from? Why do so many people still love vinyl, even though its =
bulky, analog nature is anathema to everything music is supposed to be =
these days? Records, the vinyl evangelists will tell you, provide more =
of a connection between fans and artists. And many of today's music fans =
buy 180-gram vinyl LPs for home listening and MP3s for their portable =
devices."

I'm loving this!!!  Will be interesting to see where this goes. Can you =
imagine taking vinyl to your gigs in 2 years? Or exchanging actual vinyl =
albums and sleaves at Y2K10?

Kris

----- Original Message -----=20



      Vinyl is so out of style that chances are pretty good one could =
find old cutting lathes etc. somewhere sitting in a =
warehouse,basement,fleamarket for cheap. I wonder how much of that gear =
has gone to the dump.

------=_NextPart_000_020B_01C96B57.734442F0
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<META content=3D"MSHTML 6.00.6000.16788" name=3DGENERATOR></HEAD>
<BODY class=3Dhmmessage bgColor=3D#ffffff>
<DIV><FONT face=3DArial>Is it really out of style? What do you make of=20
this:</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><A=20
href=3D"http://www.wired.com/entertainment/music/commentary/listeningpost=
/2007/10/listeningpost_1029">http://www.wired.com/entertainment/music/com=
mentary/listeningpost/2007/10/listeningpost_1029</A></FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial><A=20
href=3D"http://www.chicagoreader.com/features/stories/sharpdarts/080424/"=
>http://www.chicagoreader.com/features/stories/sharpdarts/080424/</A></FO=
NT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>"Talk to almost anyone in the music business' =
vital indie=20
and DJ scenes and you'll encounter a uniformly optimistic picture of the =
vinyl=20
market."
<P>&nbsp;</P>
<P>"I'm hearing from labels and distributors that vinyl is way up," said =
Ian=20
Connelly, client relations manager of independent distributor alliance =
IODA, in=20
an e-mail interview. "And not just the boutique, limited-edition colored =
vinyl=20
that <A href=3D"http://www.myspace.com/officialjesu">Jesu</A>/<A=20
href=3D"http://www.myspace.com/sgnl05">Isis</A>-style fans are hot for =
right=20
now."</P></FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>"Pressing plants are ramping up production, but =
where is=20
the demand coming from? Why do so many people still love vinyl, even =
though its=20
bulky, analog nature is anathema to everything music is supposed to be =
these=20
days? Records, the vinyl evangelists will tell you, provide more of a =
connection=20
between fans and artists. And many of today's music fans buy 180-gram =
vinyl LPs=20
for home listening and MP3s for their portable devices."</FONT></DIV>
<DIV><FONT face=3DArial></FONT>&nbsp;</DIV>
<DIV><FONT face=3DArial>I'm loving this!!!&nbsp; Will be interesting to =
see where=20
this goes. Can you imagine taking vinyl to your gigs in 2 years? Or =
exchanging=20
actual vinyl albums and sleaves at Y2K10?</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV><FONT face=3DArial>Kris</FONT></DIV>
<DIV>&nbsp;</DIV>
<DIV>----- Original Message ----- </DIV>
<BLOCKQUOTE=20
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black">&nbsp;</DIV>
  <DIV><BR></DIV>&nbsp;&nbsp;&nbsp; Vinyl is so out of style that =
chances are=20
  pretty good one could find old cutting lathes etc. somewhere sitting =
in a=20
  warehouse,basement,fleamarket for cheap. I wonder how much of that =
gear has=20
  gone to the dump.<BR></BLOCKQUOTE></BODY></HTML>

------=_NextPart_000_020B_01C96B57.734442F0--

From Loopers-Delight-request@loopers-delight.com  Wed Dec 31 22:06:00 2008
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Subject: Re: Vinyl
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I also read a story about a year ago about the resurgence of vinyl.  
But to me, the *most* encouraging and heart warming thing in that  
report  was the part of the story
where there had been a wide cross-section of some early-teenagers who  
were asked why they were getting so much into vinyl.

The answer given the most was: "Because it just sounds better".  And,  
this was from kids who certainly did not originally grow up on  
vinyl.  I really liked that part.

All the best,
Rev Fever
http://www.spiritone.com/~rvfever/

On Dec 31, 2008, at 1:52 PM, Krispen Hartung wrote:

> Is it really out of style? What do you make of this:
>
> http://www.wired.com/entertainment/music/commentary/listeningpost/ 
> 2007/10/listeningpost_1029
>
> http://www.chicagoreader.com/features/stories/sharpdarts/080424/
>
> "Talk to almost anyone in the music business' vital indie and DJ  
> scenes and you'll encounter a uniformly optimistic picture of the  
> vinyl market."
>
> "I'm hearing from labels and distributors that vinyl is way up,"  
> said Ian Connelly, client relations manager of independent  
> distributor alliance IODA, in an e-mail interview. "And not just  
> the boutique, limited-edition colored vinyl that Jesu/Isis-style  
> fans are hot for right now."
>
> "Pressing plants are ramping up production, but where is the demand  
> coming from? Why do so many people still love vinyl, even though  
> its bulky, analog nature is anathema to everything music is  
> supposed to be these days? Records, the vinyl evangelists will tell  
> you, provide more of a connection between fans and artists. And  
> many of today's music fans buy 180-gram vinyl LPs for home  
> listening and MP3s for their portable devices."
>
> I'm loving this!!!  Will be interesting to see where this goes. Can  
> you imagine taking vinyl to your gigs in 2 years? Or exchanging  
> actual vinyl albums and sleaves at Y2K10?
>
> Kris
>
> ----- Original Message -----
>
>
>     Vinyl is so out of style that chances are pretty good one could  
> find old cutting lathes etc. somewhere sitting in a  
> warehouse,basement,fleamarket for cheap. I wonder how much of that  
> gear has gone to the dump.


--Apple-Mail-1--949160920
Content-Transfer-Encoding: quoted-printable
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	charset=ISO-8859-1

<html><body style=3D"word-wrap: break-word; -webkit-nbsp-mode: space; =
-webkit-line-break: after-white-space; ">
I also read a story about a year ago about the resurgence of vinyl. But =
to me, the *most* encouraging and heart warming thing in that report =
=A0was the part of the story=A0<div>where there=A0had been a wide =
cross-section of some early-teenagers who were asked why they were =
getting so much into vinyl.=A0</div><div><br></div><div>The answer given =
the most was: "Because it just sounds better". =A0And, this was from =
kids who certainly did not originally grow up on vinyl. =A0I really =
liked that part.<div><br></div><div>All the best,</div><div>Rev =
Fever</div><div><div><a =
href=3D"http://www.spiritone.com/~rvfever/">http://www.spiritone.com/~rvfe=
ver/</a></div><div><br></div></div><div>On Dec 31, 2008, at 1:52 PM, =
Krispen Hartung wrote:</div><div><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: Verdana; font-size: 13px; 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><font face=3D"Arial">Is it =
really out of style? What do you make of this:</font></div><div><font =
face=3D"Arial"></font>=A0</div><div><font face=3D"Arial"><a =
href=3D"http://www.wired.com/entertainment/music/commentary/listeningpost/=
2007/10/listeningpost_1029">http://www.wired.com/entertainment/music/comme=
ntary/listeningpost/2007/10/listeningpost_1029</a></font></div><div><font =
face=3D"Arial"></font>=A0</div><div><font face=3D"Arial"><a =
href=3D"http://www.chicagoreader.com/features/stories/sharpdarts/080424/">=
http://www.chicagoreader.com/features/stories/sharpdarts/080424/</a></font=
></div><div><font face=3D"Arial"></font>=A0</div><div><font =
face=3D"Arial">"Talk to almost anyone in the music business' vital indie =
and DJ scenes and you'll encounter a uniformly optimistic picture of the =
vinyl market."<p style=3D"padding-right: 0px; padding-left: 0px; =
padding-bottom: 0px; margin-top: 0px; margin-right: 0px; margin-bottom: =
0px; margin-left: 0px; padding-top: 0px; ">=A0</p><div =
style=3D"padding-right: 0px; padding-left: 0px; padding-bottom: 0px; =
margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: =
0px; padding-top: 0px; ">"I'm hearing from labels and distributors that =
vinyl is way up," said Ian Connelly, client relations manager of =
independent distributor alliance IODA, in an e-mail interview. "And not =
just the boutique, limited-edition colored vinyl that<span =
class=3D"Apple-converted-space">=A0</span><a =
href=3D"http://www.myspace.com/officialjesu">Jesu</a>/<a =
href=3D"http://www.myspace.com/sgnl05">Isis</a>-style fans are hot for =
right now."</div></font></div><div><font =
face=3D"Arial"></font>=A0</div><div><font face=3D"Arial">"Pressing =
plants are ramping up production, but where is the demand coming from? =
Why do so many people still love vinyl, even though its bulky, analog =
nature is anathema to everything music is supposed to be these days? =
Records, the vinyl evangelists will tell you, provide more of a =
connection between fans and artists. And many of today's music fans buy =
180-gram vinyl LPs for home listening and MP3s for their portable =
devices."</font></div><div><font face=3D"Arial"></font>=A0</div><div><font=
 face=3D"Arial">I'm loving this!!!=A0 Will be interesting to see where =
this goes. Can you imagine taking vinyl to your gigs in 2 years? Or =
exchanging actual vinyl albums and sleaves at =
Y2K10?</font></div><div>=A0</div><div><font =
face=3D"Arial">Kris</font></div><div>=A0</div><div>----- Original =
Message -----</div><blockquote style=3D"padding-right: 0px; =
padding-left: 5px; margin-left: 5px; border-left-color: rgb(0, 0, 0); =
border-left-width: 2px; border-left-style: solid; margin-right: 0px; =
"><div style=3D"background-image: initial; background-repeat: initial; =
background-attachment: initial; -webkit-background-clip: initial; =
-webkit-background-origin: initial; background-color: rgb(228, 228, =
228); font: normal normal normal 10pt/normal arial; background-position: =
initial initial; ">=A0</div><div><br></div>=A0=A0=A0 Vinyl is so out of =
style that chances are pretty good one could find old cutting lathes =
etc. somewhere sitting in a warehouse,basement,fleamarket for cheap. I =
wonder how much of that gear has gone to the =
dump.<br></blockquote></span></blockquote></div><br></div></div></body></h=
tml>=

--Apple-Mail-1--949160920--

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Date: Wed, 31 Dec 2008 23:15:06 +0100
From: "Per Boysen" <perboysen@gmail.com>
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Talking about BEER BUDGET....
Look at the size of that German beer - equals well the man's torso!
(Berlin Looping Festival)
http://pix.looproom.com/#1.12

Per ;-)

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I woulda thought that too, since the same applies for reel to reel tape
technology. But even though their not made anymore, those tape recorders
remain beloved by many, and rather expensive on Ebay.


>
>     Vinyl is so out of style that chances are pretty good one could find
> old cutting lathes etc. somewhere sitting in a warehouse,basement,fleamarket
> for cheap. I wonder how much of that gear has gone to the dump.
>
>

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I woulda thought that too, since the same applies for reel to reel tape
technology. But even though their not made anymore, those tape recorders
remain beloved by many, and rather expensive on Ebay. <br><br><div class="gmail_quote"><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">
<blockquote style="border-left: 2px solid rgb(0, 0, 0); padding-right: 0px; padding-left: 5px; margin-left: 5px; margin-right: 0px;">
  <div style="background: rgb(228, 228, 228) none repeat scroll 0% 0%; -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;">
&nbsp;</div>
  <div><br></div>&nbsp;&nbsp;&nbsp; Vinyl is so out of style that chances are 
  pretty good one could find old cutting lathes etc. somewhere sitting in a 
  warehouse,basement,fleamarket for cheap. I wonder how much of that gear has 
  gone to the dump.<br></blockquote></div>
</blockquote></div><br>

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From fedexpcouries02@live.com  Wed Dec 31 23:57:42 2008
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Date: Tue, 30 Dec 2008 09:45:56 -0500 (EST)
Subject: YOU  HAVE  A  PACKAGE
From: "FEDEX DELIVERY TEAM" <fedexpcouries02@live.com>
Reply-To: fedexpcouries02@live.com
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X-www.wow.lk-MailScanner-From: fedexpcouries02@live.com
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To: undisclosed-recipients:;

Dear Customer!

We have been waiting for you to contact us for your Confirmable Package
that is
registered with us for shipping to your residential
location.We had thought that your sender gave you our contact details.It may
interest you to know that a letter is also added to your
package.However, we cannot quote it content to you via email for privacy
reasons.
We understand that the content of your package itself is a
Bank Draft worth of $800,000.00 USD. As you know, FedEx do not ship money
in CASH
or in CHEQUES but Bank Drafts are shippable. The package is
registered with us for mailing by your colleague as claimed, and your
colleague
explained that he is from the United States but he is here in Nigeria
for a three (3) months Surveying Project as he works with a construction
firm in
the Nigeria West Africa We are sending you this email because
your package is beenregistered on a Special Order. What you have to do
now, is to
contact our Dilivery Department for immediate dispatchment of your
package to your residencial address.Note that as soon as our Delivery Team
confirms your informations, it will take only one working day(24
hours)for your package to arrive
it\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
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designated destination. For your information, the VAT & Shipping charges
as well
as Insurance fees have been paid by your colleague before your package was
registered. Note that the payment that is made on the Insurance, Premium &
Clearance Certificates, are to certify that the Bank Draft is not a Drug
Affiliated
Fund (DAF) neither is it funds to sponsor Terrorism in yourcountry. This
will help
you avoid any form of query from the Monetary Authority of your
country.However,
you will have to pay a sum of 80 GBP to the FedEx Delivery Department
being full
payment for the Security Keeping Fee of the

FedEx company as stated in our privacy terms & condition page. Also be
informed
that your colleague wished to pay for the Security Keeping charges, but we
do not
accept such payment considering the facts that all items & packages that is
registered with us have a time limitation and we cannot accept payment having
known
not when you will be
picking up the package or even responding to us.So we cannot take the risk
to have
accepted such payment incase of any possible demurrage.Kindly note that your
colleague did not leave us with any furtherinformation.We hope that you
respond to
us as soon as possible because if you fail to respond until the expiry
date of the
foremost package, we may refer the
package to the Nigeria Commission for Welfare as the package do not have a
return
address.Kindly contact the delivery department (FedEx Delivery Post) with the
detailsgiven below:

Contact Person: Richard Reynor
eMail: fedexpcories02@live.com
Tel:+234-544-61-287
Kindly complete the below form and send it to the email
address
given above.


This is mandatory to reconfirm your Malling Address and

TELEPHONE NUMBERS:
FULL NAMES:
TELEPHONE:
POSTAL ADDRESS:
CITY:
STATE:
COUNTRY:

Kindly complete the above form and summit it to the delivery manager on:
fedexpcouries02@live.comAs soon as your details are received, our delivery
team
will give you the neccessary payment procedure so that you can effect the
payment
for the Security Keeping Fees. As soon as they confirm your payment
receipt of
100GBP, they will not
hesitate to dispatch your package as  well as the attahced letter to your
residence. It usually takes 24 hours being an over night delivery service.
Note
that we were not instructed to email you, but due to the high priority of
your
package we had to inform you as your sender did not leave us with his
phone number
because he stated that he just arrivedNigeria and
hehasn't\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\
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fix any phone yet. We indeed personally sealed your Bank Draft and we found
youremail contact in the attached letter as the recipient of the foremost
package.
Ensure to contact the delivery department with the email address given
above and
ensure to fill the above form as well to enable a successful reconfirmation.
Do
not reply this email because this email account is not monitored. Send your
details
to:fedexpcouries02@live.com
Yours Faithfully,
Mrs. Margaret Blaire.
FedEx Online Team Management.
All rights reserved.  1995-2008 FedEx.
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FEDEX   Fedex Delivery




Dear Friend,

Hope all is well with you and your family? I hope this mail meets you in a
perfect condition. I am using this opportunity to thank you for your great
effort to our unfinished Project due to one reason or the other best known
to you.

But I want to inform you that I have successfully transferred the fund out
of my bank to someone else account who was capable of assisting me in this
greatventure.

Due to your effort, sincerity, courage and trust worthiness you showed at
the course of the transaction I want to compensate you and show
mygratitude to you with the sum of $2,500.000.00 (Two million And Five
hundred Thousand United States Dollars) I have authorized the finance
house where Ideposited my money to
issue you international certified bank draft cashable at your bank.

My dear friend I will like you to contact the finance house for the
collection of this international certified bank draft,the name and contact
address of the Person with your Cheque is as follows Rev.Fred Martins
Email: compensation_head01@yahoo.com.hk

At the moment, I m very busy here because of the investment projects which
myself and my new partner are having at hand.

Finally, remember that I have forwarded instruction to the finance house
on your behalf to send the bank draft to you as soon as you contact them
without delay.

Please I will like you to accept this taken with good faith as this is
from the bottom of my heart. Thanks and God bless you and your family.

Hope to hear from you soon.
Best Regards,


Mr.Dav wood



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