------------------------------
Content-Type: text/plain

Loopers-Delight-d Digest                                Volume 96 : Issue 11

Today's Topics:
  Re: new standard tuning               [ studio seventeen productions <ambie ]
  Re: When? Where?                      [ "Louis Collier Hyams" <hyamsl@rpi.e ]
  lucier                                [ "Louis Collier Hyams" <hyamsl@rpi.e ]
  Tape Idea                             [ patrick@his.com (Patrick Smith) ]
  Re: new standard tuning               [ matthias@bahianet.com.br (Matthias  ]
  Subjects                              [ matthias@bahianet.com.br (Matthias  ]
  Re: hellos; loop and improv. theory   [ matthias@bahianet.com.br (Matthias  ]
  Re: see guitar player mag, etc        [ matthias@bahianet.com.br (Matthias  ]
  Re: The West Coast Summit             [ KILLINFO@aol.com ]
  Re: new standard tuning               [ Michael Peters <100041.247@CompuSer ]
  Re: echoplex help                     [ kflint@annihilist.com (Kim Flint) ]
  interesting thoughts...               [ Ray Peck <rpeck@PureAtria.COM> ]
  Re: new standard tuning               [ Olivier Malhomme <malhomme@infobiog ]
  Re: new standard tuning               [ Olivier Malhomme <malhomme@infobiog ]
  Zappa, mitigator, little alligator    [ andre <andre@monmouth.com> ]
  Re: see guitar player mag, etc        [ andre <andre@monmouth.com> ]
  Bon Live, NY NJ PA DE Loopers         [ andre <andre@monmouth.com> ]
  Re: new standard tuning               [ "S. Patrick Hickey" <hickeysp@niels ]
  Re: new standard tuning               [ "S. Patrick Hickey" <hickeysp@niels ]
  Re: new standard tuning               [ "S. Patrick Hickey" <hickeysp@niels ]
  Re: Midi Loops                        [ KILLINFO@aol.com ]
  Tuning theory                         [ Dave Stagner <dstagner@icarus.net> ]

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------------------------------
Date: Mon, 4 Nov 1996 17:38:38 -0800
From: studio seventeen productions <ambient@adnc.com>
To: Loopers-Delight@annihilist.com
Subject: Re: new standard tuning
Message-Id: <199611050138.RAA14271@barley.adnc.com>
Content-Type: text/plain; charset="us-ascii"

At 04:52 PM 11/3/95 -0500, you wrote:
>>>C   G   D   A   E  G
>>
>>I do not think I will learn another tuning with a irregularity.
>>
>>>3) Forget about BENDING.  It will break strings, almost always.  (Of course
>>>you can get away with on the bottom 3 or 4 strings if you really want.
>>
>>I would rather play without strings than without bending.
>>
>>Thanks a lot anyway.
>>Matthias
>
>
>   I've been using this tuning for years and have never had a problem
>with breaking strings. Popping strings has more to do with your technique
>then with a tuning..Or maybe your guitar setup is to blame??
>
>    Steev
>
>

Steev

you misunderstand


after about the first five years...i never break strings.  it takes longer
for some of us to adjust to the tuning, but once you understand...it's never
a problem

i was thinking back to that first year or two, when you don't yet know how
to APPROACH the guitar, how to restring it without breaking strings.

plus I had a history of picking WAY TOO HARD

GC finally put a stop to that


HONOR NECCESSITY

HONOR SUFFICIENCY (especially in regard to picking force!)




dave at seventeen
173451681734516817345168173451681734516817345168

*               *  *  *  *  *    I'll be downstairs if you need me.  I'll
still be 
*                  *     downstairs if you DON'T need me.       
*                          *         (Mr. Blint, Consequences/Godley & Creme)
*                        *
*                      *

visit: http:www.adnc.com/web/ambient/index.html
seventeen: the ambient music page

173451681734516817345168173451681734516817345168

------------------------------
Date: Mon, 4 Nov 1996 12:32:03 -0500
From: "Louis Collier Hyams" <hyamsl@rpi.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: When?  Where?
Message-Id: <9611041232.ZM1553@wolf0.vlsc.rpi.edu>
Content-Type: text/plain; charset=us-ascii

On Oct 23, 11:20am, Matthias wrote:
> Subject: Re: When?  Where?
> >matthias... sukandar told me he just ran across rolf recently for pickups.
did
> >rolf ever get the email bug?
>
> wazdat?
>
>
>
>-- End of excerpt from Matthias

ok, sorry.

has rolf ever begun to use email? I'd like to contact him, but due to "keine
geld" for the telephono and such, I can't just call him up.
I'd like to see the paradis products and possibly use them or proto them

collier

------------------------------
Date: Mon, 4 Nov 1996 12:14:50 -0500
From: "Louis Collier Hyams" <hyamsl@rpi.edu>
To: Loopers-Delight@annihilist.com
Subject: lucier
Message-Id: <9611041214.ZM1521@wolf0.vlsc.rpi.edu>
Content-Type: text/plain; charset=us-ascii

On Oct 21,  6:30pm, Dave Trenkel wrote:

thanks for explaining the Lucier bit. and my spelling is of course really
bad(thanks for the correction too)

we're currently authoring a cdrom with alvin. my roommate went to do some
interviews with him yesterday. I'll let you guys know about the progress of
the cd "if'n yer intursted"

> Indeed. Alvin Lucier's "I am Sitting in a Room" has got to be one of the
> looping classics. It consists of Lucier sitting in a room with 2 distant
> mics, 2 tape decks, and speakers. The recording begins with Lucier verbally
> describing the process of the piece, which is that he is recording his
> voice, and after recording, he will play that back through the speakers,
> and record that through the mics onto the 2nd tape deck. This continues for
> about 25 generations. At first, you just hear reverberation of the rooms
> acoustics as he replays the tape into the room. Gradually, certain
> frequencies begin to stand out, and by the middle of the 2nd side of the
> lp, you start hearing melodies and textures, while the words are no longer
> distinguishable. It's a fascinating piece, both for the process and the
> musical results.

>
>-- End of excerpt from Dave Trenkel

------------------------------
Date: Mon, 4 Nov 1996 21:29:19 +0200
From: patrick@his.com (Patrick Smith)
To: Loopers-Delight@annihilist.com
Subject: Tape Idea
Message-Id: <v01520d06aea3f28e4f4f@[205.177.25.43]>
Content-Type: text/plain; charset="us-ascii"

Hi,

I'm on an ambient music mailing list which  has a group of musicians who
circulate tapes to let one another know what the others are up to. Due to
lack of time I've not joined their circle yet, but I'm very interested to
hear what others are doing musically on this list.

In a nutshell all the interested parties signup with a person who
administers the circle. A tape is stated with one piece by one member and
then mailed to the next person in the circle. This person listens( maybe
evens dubs), adds a piece of their own and forwards, etc. Different
cassettes are started by diferent individuals and all are urgerd to send on
their tape within a week of receiving it. Seems as if four tapes were in
circulation at one time.

If their is an interest in how the anbient group pulls this off, I can
forward a copy of their guidelines and if someone wishes to set up the site
on the Web that shows where tapes are and where they are heading next, we
're off and running.

Peace,

Patrick

------------------------------
Date: Tue, 5 Nov 1996 03:56:38 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: new standard tuning
Message-Id: <v01520d00aea3b3af8059@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

Thank you for these kind helping words, Dave my friend.
You are right, I should not shut out any possiblilties. There are no limits
to growth but the limits push to growth...

>>>3) Forget about BENDING.  It will break strings, almost always.  (Of course
>>>you can get away with on the bottom 3 or 4 strings if you really want.
>>
>>I would rather play without strings than without bending.
>>
>Just like short loops with sudden endings with NO REVERB...perhaps playing
>without bending might force one to play in a new and different fashion...
>
>can one express emotion through the guitar WITHOUT recourse to the
>blues/standard "emotive" sound of a bend?  if you WANT to bend, of course
>DO, in OST.  but in NST...there are challenges to be met.
>
>don't dismiss it out of hand.  and the irregularity in NST is far simpler
>and easier to overcome than the crippling, hand-it-down-for-centuries (lutes
>onward) oh-god-it's a fourth-instead-of-a-fifth "standard tuning"
>
>it least in NST you have five strings, in sequence, in which scales are
>IDENTICAL and UNIQUE.  no having to worry when you get to that third string...
>
>it's all in your perspective, my friend.  you of all people will understand...
>
>try it anyway.  ask yourself: can I make even better music WITHOUT bending?
>
>i find more and more the answer is yes.  also: in NST, i constantly use the
>WHAMMY II pedal for pitch manipulation, octaving and bending.  so in this
>sense...it makes no difference WHAT the strings are tuned to.
>
>if not whammying: NST no bending.
>
>if whammying: NST no bending
>
>(or: OST no bending)
>
>
>just trying to confuse the hell out of everyone :)
>

------------------------------
Date: Tue, 5 Nov 1996 03:56:44 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Subjects
Message-Id: <v01520d01aea3b548e042@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

Just a *unimportant* question of organization of the list:

The very same idea has been discussed under the subject of:

BRACE YOURSELVES!!!
Seven
west coast gigs
The latest on the West Coast Summit
... probably this last wont last...

With a few new neuron connections, my brain can capture that its all the
same, but my trusty old mac will never learn this...

Some people might want to save time and trash certain subjects right away
or even have the machine do it.

Sometimes it s necessary to change subject because really does, naturally.

This is only a suggestion. Just go ahead and continue doing the way you
think is right.

Thanks

PS another, similar one:
If you have several independent things to say, It might be whise to write
several short mails, each one with the appropreate title.

I mean: Be aware that you crate a wave that changes the world, starting
with one sentence and its subject.

------------------------------
Date: Tue, 5 Nov 1996 03:56:50 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: hellos; loop and improv. theory
Message-Id: <v01520d02aea3ba04fd35@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

Welcome Michael!

>Uh, all you loopers are an interesting and informative, and
>collegial bunch.

So are you! These Books certainly are a new direction of contribution to
the list, probably things I was looking for!

Without wanting to abuse your good will:
Is there a way you could pass us a bit more about the essence of these
books, the part that is important to us? I think most of us are not going
to read Heidegger (as far as I know its heavy complext, isn't it?) to
improve their impro.

>        All these references are sent in the spirit of sharing in this loopy
>community process. Thanks for all of your teachings.

Your turn to teach?
It could be an essay, a collection of paragraphs out of those books...
Maybe another page on the site: "Philosophical background"? I would love that.
Others would help

Thanks
Matthias

------------------------------
Date: Tue, 5 Nov 1996 03:56:56 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: see guitar player mag, etc
Message-Id: <v01520d03aea3c83d548e@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

andre east:
>loop driven improv

liked that expression

>with live (real!!) percussion

looped as well?

>music is the best (FZ)

Frank Zappa said that? Tremendously whise. I thought football was the best. :-)

>ps -anyone out there have a MIDI MITIGATOR????

Yes, I installed its board somewhere in my mess and use it to control my
PCMs with foot operated P+G faders. Its doing its job perfectly for 6
years. Why?

Matthias

------------------------------
Date: Tue, 5 Nov 1996 00:51:18 -0500
From: KILLINFO@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: The West Coast Summit
Message-ID: <961105005117_222644855@emout06.mail.aol.com>

Hi there!

Andre, here is my own response to your list of 
questions about performance preferences for 
the loop users summit.

1. BEST TIME--For me, anytime after NAMM (mid 
January '97). In my day gig I'm ramping up to that 
even now and don't have any more spare brain cells 
for extracurricular creativity. Prefered days are
Friday, Saturday, Sunday, or Monday. No midweeks 
please...

2. GEAR REQUIREMENTS--Fairly simple, if need 
be. One AC outlet, and enough space for a stool, 
a 12-space rack (on casters), a couple of guitar 
stands, A GR-1 and a bunch of EV-5 pedals. And, if 
there is a full-range system available, I'll only 
need two channels on the board (I can bring my 
own pair of direct boxes). Can we assume that there 
will be a "stage" mike of some sort (to make silly
comments between pieces if need be)? If so that 
would be nice. If not, oh well...I'm not that good 
at telling jokes anyway. 

As far as list of my "gear" goes it would take a 
while to list out item by item. How 'bout just a 
list of potential instruments...the candidates are 
midi-augmented electric guitar, 6- and/or 12-string
acoustic guitars, birimbau, kalimba, cunbus (a sort 
of a mandolin/banjo from Turkey), 2 midi wind 
controllers (cheapo Casio ones no less, taped 
together as a mutant "siamese" pair), miscellaneous
mallets, sticks, springs and other gadgetry to hit, 
rub, and scrape things with, as well as the things 
to hit, rub, and scrape (in addition to all of the 
above abused instruments) pieces of metal, toys.
and perhaps a sampler...

More than likely it'll just be the rack, the electric
guitar and just one other instrument. But, if the show 
starts to look a bit too guitar heavy, I can do other 
things to add alittle contrast. When in doubt...punt.

3. SET LENGTH--About an hour would be fine, much
less than that and it's hardly worth the trouble to 
schlepp the gear and set up. More would be nice, 
but realistically, a little hard on the audience if 
they're not used to it (without a break)

4. UNREHEARSED COLLABORATIONS--I'd love it. That 
is what I do (whenever I do perform with others). Life 
is too short to spend it rehearsing. Don't get me wrong, 
It's not like I'm any sort of phenom, or virtuoso, or any 
such thing (far from it). I guess I'm just too stupid, 
or crazy (or both) to be much affraid of being out of 
my depth any more. Life really is too short. If music 
is a language, I love a good conversation. I'm fairly at 
home with that concept. 

5. TIME OF DAY--If it's indoors, it doesn't matter much.
Anytime between noon and 2:00am. Beyond that, I'll not 
be too picky. I do rather dislike outdoor gigs in open 
sunshine though...

6. VENUE TYPE--Anywhere where an attendee who really 
wants to hear what's going on can (without too many 
"mechanical" distractions). I play both very loud and very 
soft. Some places that have the cash register, capuchino
machine, or margarita blender right next to the stage
can totally distract a performer and audience from what 
has been refered to as that "ritual" and (I believe) mutual 
act of making music. However, the other normal noises 
of a coffehouse or bar are no problem though. So, while an
academic or theatrical venue might actually be preferable 
to me, I've played in enough java joints and jazz clubs to
know how to cope with the real world.

If it turns out that it happens in the Bay area, I've only 
been there as a tourist. I don't know my way around much 
there. I could probably make it though. I guess I'm about 
100 miles closer than you folks down in L.A. are. 

Thank you for all of the work you are doing to pull this 
together, Andre. I hope this info is of some help. 

Take care
Ted

------------------------------
Date: 05 Nov 96 01:54:00 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: <Loopers-Delight@annihilist.com>
Subject: Re: new standard tuning
Message-ID: <961105065359_100041.247_JHB45-2@CompuServe.COM>

Dave about the NST:
 
> I find it kind of interesting that people would switch from one tuning
> to another (standard to New Standard), yet remain basically monogamous
> in their choice.  I use a number of different tunings, each with their
> own strengths and weaknesses.  Part of the motivation of NST is to
> break out of the rut, but I'd be afraid of falling into a new one.
 
You're right about the NST as a potential new rut, but after my experience
of learning NST, I'm a little sceptical about my ability to learn a dozen
more tunings. How long does it take you to get familiar with a new tuning?
(A VG-8 would probably make it easier to experiment ... oh well)
 
-Michael P
 

------------------------------
Date: Mon, 4 Nov 1996 23:29:46 -0800
From: kflint@annihilist.com (Kim Flint)
To: Loopers-Delight@annihilist.com
Subject: Re: echoplex help
Message-Id: <v02140b01aea48ce1e439@[207.171.196.198]>
Content-Type: text/plain; charset="us-ascii"

>I would be most appreciative if one of you would contact me about
>hardware
>rework/fixes for the Echoplex.  Mike Lyon of Oberheim has not responded
>to
>several Emails, for over a week.  He had promised to send me what I need,
>
> I asked when he would send them, then no reply since.   My problems:
>
>1.  Loop start point moving when using nextloop.

I haven't gotten around to trying to duplicate this problem. Its not likely
to be hardware. Sounds like it could have been an obscure software bug, but
I won't know withoug checking it out. If it is software, It is very
probably fixed in the infamous software upgrade. We looked very hard for
such problems during the upgrade development and took care of them.

>2.  Sound becoming distorted after loop repeated for several days.

I would suspect the thermal problem for that, where you only need to cut a
pin on an IC to cure it. The faq which Andre has so graciously begun
compiling will most certainly cover that.



kim

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

------------------------------
Date: Mon, 4 Nov 1996 23:41:44 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: interesting thoughts...
Message-Id: <199611050741.XAA17969@pure.PureAtria.COM>

>>Nono, it takes an artist to create art. Accident is great, but only if an
>>artist interpretes it. Public envolvement is fun but not satisfactory,
>>lacking straightness or purity or something.
>>I may be totaly wrong here, would need to see the result.
>
>me too!
>
>it would STILL be interesting to see if a "non-artist" or "non-musician"
>audience could indeed "compose" something of merit using this method.

Well, we'll see, if I ever get on the list CD!  ;-)

------------------------------
Date: Tue, 5 Nov 1996 13:04:19 +0100 (MET)
From: Olivier Malhomme <malhomme@infobiogen.fr>
To: Loopers-Delight@annihilist.com
Subject: Re: new standard tuning
Message-ID: <Pine.SOL.3.95.961105125819.6905C-100000@lovelace.infobiogen.fr>
Content-Type: TEXT/PLAIN; charset=US-ASCII

I have an information that could be interesting to all people using NST.
Replace your high G guitar string wit ha good german quality hrpsichord
string. Why? Because the quelity of the steel compares in nothing with the
&@@##@ quality of american and sweedish steel we usually have. I won't go
into detail, but where you would be stopped at G# (or more) with a guitar
string, a harpsichord string will be able to go about two whole tone
Higher. I do personnally have a perfect fifth tuning (low to high: A E B
F# C# G#) I of course had these problems with G# string breaking and and I
could very much bend this string (of course) with fingers or tremolo... To
my knowing, the best string is a german one called "Roslow". I use the
equivalent of a .008 for my G# wich is (harpsichord are measured in
millimeters) 0.2 mm.

Olivier Malhomme

------------------------------
Date: Tue, 5 Nov 1996 13:10:14 +0100 (MET)
From: Olivier Malhomme <malhomme@infobiogen.fr>
To: Loopers-Delight@annihilist.com
Subject: Re:  new standard tuning
Message-ID: <Pine.SOL.3.95.961105130902.6905E-100000@lovelace.infobiogen.fr>
Content-Type: TEXT/PLAIN; charset=US-ASCII

orry a viola de gamba as you say as 7 strings since Mr de Saintes
Colombes, and is fretted instrument tuned in fourth.

Olivier Malhomme Viole-de-gambe addicted for a long time.

------------------------------
Date: Tue, 5 Nov 1996 08:48:22 -0500 (EST)
From: andre <andre@monmouth.com>
To: Loopers-Delight@annihilist.com
Subject: Zappa, mitigator, little alligator
Message-Id: <199611051348.IAA10595@shell.monmouth.com>
Content-Type: text/plain; charset="us-ascii"

with  live (real!!) percussion
>
>looped as well?

sometimes, yes - 2 boss perc pads put thru a digitech 2 sec delay/sampler
>
>>music is the best (FZ)
>
>Frank Zappa said that? Tremendously whise. I thought football was the best. :-)


yes - on his brilliant "Joe's Garage " set there's a great soliloquy near
the end of the 2nd disk. All should hear this album - it deals with a lot -
the music industry's lameness, the gov't and censorship, rock cliches,
touring, etc. And features the talents of Warren Cuccurullo, Vinnie
Coliuata, Ike Willis, and of course FZ with come of his best soloing


>>ps -anyone out there have a MIDI MITIGATOR????
>
>Yes, I installed its board somewhere in my mess and use it to control my
>PCMs with foot operated P+G faders. Its doing its job perfectly for 6
>years. Why?->Matthias

just wondering - i have one two & had heard that the company was sold or
closed down - anyone know?? i know it was in Florida - i'm also looking for
schematics. Mine works really well - for those who've not seen these - it's
a midi footpedal which goes way beyond mere prog-change. It'll send ANY MIDI
SIGNAL - single note on/off, chords, start & stop for any device,
simultaneous different  commands on different channels...etc And it's got a
neat wide green LED display for .....words (uhh,...huh huh huh)
>
Andre (east)

------------------------------
Date: Tue, 5 Nov 1996 09:06:16 -0500 (EST)
From: andre <andre@monmouth.com>
To: Loopers-Delight@annihilist.com
Subject: Re: see guitar player mag, etc
Message-Id: <199611051406.JAA12070@shell.monmouth.com>
Content-Type: text/plain; charset="us-ascii"

At 10:27 AM 11/4/96 -0500, you wrote:
>>Andre (of the east),
>>  In your post you asked about any New Jersey loopists. I'm here in
>>Southampton, n.j. Where are you located? 

I'm in red bank NJ. Central.

Also: Bon just played here in Mt.>>Holly at the Down to Earth Coffeehouse in
October. While I wasn't able to>>make this concert (had a gig in nearby
Medford same night) I understand he>>plays here a couple times a year. 

He's doing solo, live loop based show at Th Common Ground in Summit - uh,
the day after Thanksgiving . More details when i get 'em. Andre (east)

Any other Jersey loopists out there?
>>                    ---Paul Mimlitsch (Stick Player)
>
>
>I am a loopist, experimental guitarist here in Delaware about 45 min from
philly
>
>Paul

------------------------------
Date: Tue, 5 Nov 1996 09:06:18 -0500 (EST)
From: andre <andre@monmouth.com>
To: Loopers-Delight@annihilist.com
Subject: Bon Live, NY NJ PA DE Loopers
Message-Id: <199611051406.JAA12075@shell.monmouth.com>
Content-Type: text/plain; charset="us-ascii"

At 10:27 AM 11/4/96 -0500, you wrote:
>>Andre (of the east),
>>  In your post you asked about any New Jersey loopists. I'm here in
>>Southampton, n.j. Where are you located? 

I'm in red bank NJ. Central.

Also: Bon just played here in Mt.>>Holly at the Down to Earth Coffeehouse in
October. While I wasn't able to>>make this concert (had a gig in nearby
Medford same night) I understand he>>plays here a couple times a year. 

He's doing solo, live loop based show at Th Common Ground in Summit - uh,
the day after Thanksgiving . More details when i get 'em. Andre (east)

Any other Jersey loopists out there?
>>                    ---Paul Mimlitsch (Stick Player)
>
>
>I am a loopist, experimental guitarist here in Delaware about 45 min from
philly
>
>Paul

------------------------------
Date: Tue, 5 Nov 1996 09:23:33 -0500
From: "S. Patrick Hickey" <hickeysp@nielsenmedia.com>
To: Loopers-Delight@annihilist.com
Subject: Re: new standard tuning
Message-Id: <199611051423.JAA24956@nielsenmedia.com>

You could also use electric guitar strings.  I know folks who go back
and forth elec/acoustic so often, they find it easier using the same
strings on both.

Pat Hickey                      ***SPH
brzrkr@nielsenmedia.com

------------------------------
Date: Tue, 5 Nov 1996 09:25:31 -0500
From: "S. Patrick Hickey" <hickeysp@nielsenmedia.com>
To: Loopers-Delight@annihilist.com
Subject: Re:  new standard tuning
Message-Id: <199611051425.JAA25025@nielsenmedia.com>

A 7-string instrument tuned strictly in fourths does not describe the
instruments named viola de gamba here in the States.  

Curioser and curiouser.

Pat                     ***SPH
brzrkr@nielsenmedia.com

------------------------------
Date: Tue, 5 Nov 1996 09:21:43 -0500
From: "S. Patrick Hickey" <hickeysp@nielsenmedia.com>
To: Loopers-Delight@annihilist.com
Subject: Re: new standard tuning
Message-Id: <199611051421.JAA24877@nielsenmedia.com>

I tend to let tunings grow on me.  I strictly forbid analysis, and let
discovery work for me.  Stick with them for a while, come back to them
often.  Open tunings are fun; minor tunings more useful than their
wail suggests.  Drone tunings are great for meditation/trance.

Pat Hickey                      ***SPH
brzrkr@nielsenmedia.com

------------------------------
Date: Tue, 5 Nov 1996 10:23:24 -0500
From: KILLINFO@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: Midi Loops
Message-ID: <961105102323_345612370@emout08.mail.aol.com>

Hey Matthias!

You were inquiring about my mention on JamFactory 
a few days ago and it has taken a while to get around 
to replying. Sorry. 

Unfortunately, Intelligent Music is out of business. 
Dr. T did pick up the product for a while. But, I have 
no idea about their status or the continued support 
of JamFactory by it's new owners.

It's a Mac only program and a fairly old one (1986). 
It'll run on a Mac Plus with system 6.0.x. If it weren't 
copy protected (and if I was sure that I would not 
incur the wrath of the software gods) I would simply 
send you a copy via snail mail. But, alas, any copies
will only work if you have the original to use as a key
disk (even for hard disk installations, how lame).

I really wish I could be of more assistance. It's a cool 
tool that deserved a longer lifespan than it got.

Ted

------------------------------
Date: Tue, 5 Nov 1996 10:12:49 -0600 (CST)
From: Dave Stagner <dstagner@icarus.net>
To: Loopers-Delight@annihilist.com
Subject: Tuning theory
Message-ID: <Pine.LNX.3.93.961105094600.1578A-100000@icarus.icarus.net>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On 5 Nov 1996, Michael Peters wrote:

> Dave about the NST:
>  
> > I find it kind of interesting that people would switch from one tuning
> > to another (standard to New Standard), yet remain basically monogamous
> > in their choice.  I use a number of different tunings, each with their
> > own strengths and weaknesses.  Part of the motivation of NST is to
> > break out of the rut, but I'd be afraid of falling into a new one.
>  
> You're right about the NST as a potential new rut, but after my experience
> of learning NST, I'm a little sceptical about my ability to learn a dozen
> more tunings. How long does it take you to get familiar with a new tuning?
> (A VG-8 would probably make it easier to experiment ... oh well)

Actually, if I start to know a tuning too well, I start to avoid it.
Also, there are similarities to consider between tunings.  Two of my
long-time favorites have been open G (DGDGBD, probably the second most
common tuning on earth) and DADGAD, but I've been avoiding open G
lately because I fell into a rut.  Now I'm playing a lot with
double-dropped D (DADGBD), which is halfway between the two.  

When Mr Fripp advising switching tunings in order to break old habits,
I took it to heart.  Not knowing a tuning well has two effects.  One
is playing with intent, thinking about what you play rather than
flying your hands on autopilot.  The other is that there are new
sounds just waiting to be discovered, especially chord voicings.  A
lot of what I do is finding a lucky accident and learning to repeat
it.  

These days, I think of tunings basically as sets of intervallic
relationships between adjacent strings, and across the fretboard.  I
think of octaves and fifths for drones, of 4ths, 2nds, and minor 3rds
from string to string (I rarely use tunings with major 3rds.  Don't
like 'em).  After a while, a tuning is no longer something you
memorize scale patterns and chords shapes for.  Scale patterns are
string-to-string only, not across the fretboard.  For example, CGDGCD
and DADGAD have the same sorts of string-to-string relationships and
interval sets, just in different places.  But they *sound* very
different, because we've moved the intervallic relationships to
different strings, and different strings have different sounds. 

The difference in tone from string to string is much more an issue for
acoustic guitarists.  Many electric players (Frip and Holdsworth come
to mind) try to capture a consistent tone across the fretboard.  I'm
trying to do the opposite... accentuate the unique voices of
individual strings, and the tonal differences of various attacks (open
strings, natural and artificial harmonics, nail versus flesh, etc).  

I suppose I'm more interested in texture than melody and harmony.
That's why I like ambient and looping music... it helps sounds to
exist on their own, rather than existing only relative to other
sounds. 

-dave

By "beauty," I mean that which seems complete.
Obversely, that the incomplete, or the mutilated, is the ugly. 
Venus De Milo.
To a child she is ugly.       /* dstagner@icarus.net */
   -Charles Fort              

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