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

Loopers-Delight-d Digest                                Volume 96 : Issue 12

Today's Topics:
  Re: interesting thoughts...           [ pycraft@elec.gla.ac.uk (Dr Michael  ]
  Re: tunings                           [ pycraft@elec.gla.ac.uk (Dr Michael  ]
  Re: new standard tuning               [ pycraft@elec.gla.ac.uk (Dr Michael  ]
  Re: Re[2]: How about a Loopers-Delig  [ pycraft@elec.gla.ac.uk (Dr Michael  ]
  Re: BRACE YOURSELVES!!!               [ Ray Peck <rpeck@PureAtria.COM> ]
  Re: More on Indonesian music          [ The Man Himself <altruist@shoko.CAL ]
  Re: BRACE YOURSELVES!!!               [ The Man Himself <altruist@shoko.CAL ]
  Re: Bon Live, NY NJ PA DE Loopers     [ jspeer@haverford.edu ]
  Re: How about a Loopers-Delight CD?   [ Ray Peck <rpeck@PureAtria.COM> ]
  Re: The latest on the West Coast Sum  [ Ray Peck <rpeck@PureAtria.COM> ]
  Re: Tape Idea                         [ PMimlitsch@aol.com ]
  Yet more on the West Coast gig (sorr  [ The Man Himself <altruist@shoko.CAL ]
  logistics nightmare?                  [ studio seventeen productions <ambie ]
  Re: logistics nightmare?              [ The Man Himself <altruist@shoko.CAL ]
  Re: How about a Loopers-Delight CD?   [ Olivier Malhomme <malhomme@infobiog ]
  Viola......                           [ Olivier Malhomme <malhomme@infobiog ]
  Re: logistics nightmare?              [ KILLINFO@aol.com ]
  Re: Javanese music                    [ improv@peak.org (Dave Trenkel) ]
  Re: new standard tuning               [ matthias@bahianet.com.br (Matthias  ]
  Re: Joni Mitchell                     [ matthias@bahianet.com.br (Matthias  ]
  Re: How about a Loopers-Delight CD?   [ matthias@bahianet.com.br (Matthias  ]
  Re: When? Where?                      [ matthias@bahianet.com.br (Matthias  ]
  geography                             [ Jon Morris <jonmor@beacon.moontower ]
  Re: logistics nightmare?              [ The Man Himself <altruist@shoko.CAL ]
  Re: Tape Idea                         [ Ray Peck <rpeck@PureAtria.COM> ]

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------------------------------
Date: Tue, 5 Nov 1996 16:34:13 GMT
From: pycraft@elec.gla.ac.uk (Dr Michael P. Hughes)
To: Loopers-Delight@annihilist.com
Subject: Re: interesting thoughts...
Message-Id: <19034.199611051634@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

>I doubt that I will live to see this, but
>I'd bet any sum that the music of the future (50 or 100 years from now) will
>be *completely* different from what it is now, and that its level of technical
>sophistication will also possibly allow for some kind of audience
>participation.

Okay, we need an audience to perform to - but participation?  Sure it'd be
popular, but like Karaoke I doubt it'd be any good!

Mike
in the 52nd state

------------------------------
Date: Tue, 5 Nov 1996 17:00:17 GMT
From: pycraft@elec.gla.ac.uk (Dr Michael P. Hughes)
To: Loopers-Delight@annihilist.com
Subject: Re: tunings
Message-Id: <20176.199611051700@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

Matthias said:

>These days I thought about tuning (Not an issue for me so far) and wished
>deeply a tuning with equal distance between strings so any fingering can be
>applied anywere. I tuned B and high E string a half tone up. It is
>marvelous somehow, much easier for the brain. But then again some chords
>become nightmares.

I've gone back to equal 4ths (EADGCF) and it's incredibly refreshing to
actually be able to reach all the notes!  All you guys who went to NST to get
out of a rut, try retuning to OST and see how you've changed!!!


>From Dave:

> from lowest to highest:
>
> C   G   D   A   E  G
>
> Only the D remains from Old Standard, although you do have the high E (now
> on the second string).  And of course the G and C are LOWERED.
> This acheives perfect fifths across the lowest five strings...and you must
> then learn to deal with the anomaly of the high G (not hard with practice).

Why is that there??  Why not go in perfect 5ths across the board, eg
Ab Eb Bb F C G or F C G D A E?  It makes a lot more sense.

> 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.

Are you using a 25.5" scale? I think that's why RF uses Les Pauls.  Mind you
I have managed to get a 0.008 sting up to Ab (sorry, I can't find a hash on
this keyboard), and imagine you'd be able to get an A on a LP.  Bending
from G should be manageable, especially if you set your trem claw/springs
for it.  Of course you could always order 0.007's which Rotosound (I think)
make for Tony Iommi....


> 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.

Should a tuning be challengin, or should it be transparent?

> 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"

The Viola de Gamba was tuned in 4ths, which goes back 400 years.  The last
carryover of this family is the double bass, also in 4ths.  Anyone know
about viols?

> 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...

No, you have to worry about the 2nd!  :)

Mike
in the 52nd state

------------------------------
Date: Tue, 5 Nov 1996 17:12:59 GMT
From: pycraft@elec.gla.ac.uk (Dr Michael P. Hughes)
To: Loopers-Delight@annihilist.com
Subject: Re:  new standard tuning
Message-Id: <20597.199611051712@rank-serv.elec.gla.ac.uk>
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.

According to "Musical Instruments of the Western World" (1966) it's got 6.
Another great reference for this is the 1667 (not a typo!) work "The
Division-Viol, or The Art of Playing Extempore upon a Ground" by
Christopher Simpson.  He puts the tuning as DGCEAD.  (Division-Viol was the
English name for the Viola de Gamba)

Mike 
in the 52nd state,
and 100 yards from a very well-equipped University Library.

------------------------------
Date: Tue, 5 Nov 1996 17:18:45 GMT
From: pycraft@elec.gla.ac.uk (Dr Michael P. Hughes)
To: Loopers-Delight@annihilist.com
Subject: Re: Re[2]: How about a Loopers-Delight CD?
Message-Id: <20784.199611051718@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

Doug'n'Todd:

>> I'd also be interested in a small release list only type thing.
>> Count me in for that.  The $250 CD proposal is a great idea, but I just
>> don't have the money for it.
>>         Doug Michael
>>   http://www.ccnet.com/~dmic27
>
>Yeah, that's where I sit too.  I'm a married guy and can do things on a
>smaller scale - that's where we should start.  If that generates interest
>then maybe we can go forth from there with a bigger project.
>
>Todd Madson.

Ditto.  That's why I suggested the $30/minute idea - I could afford 2-3 mins,
but not $250 for 7.6!!

Someone mentioned a tape tree.  Would that be a good place to start?  It's
not as if there are any duplication problems...

Mike 
in the 52nd state

------------------------------
Date: Tue, 5 Nov 1996 11:26:27 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: BRACE YOURSELVES!!!
Message-Id: <199611051926.LAA08285@pure.PureAtria.COM>

>WOW!  I didn't know Peter Thalen was staging concerts!  Can somebody 
>forward me the Expose web site, or Thalen's e-mail address?  One of us 
>should get in touch with him ASAP.

I don't know Peter, but my friend Mike Grimes is invoved with the
'zine and the concerts (his band Puppet Show is headlining soon).

grimes@chem.Stanford.EDU

Tell him I sent you.

------------------------------
Date: Tue, 5 Nov 1996 11:25:09 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: More on Indonesian music
Message-ID: <Pine.SGI.3.91.961105112355.5239A-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Mon, 4 Nov 1996, Louis Collier Hyams wrote:

> andre'
> 
> you guys had a badass(read this as: completely superwonderful)
> balinese dance teacher at calarts the last time I was there... is she still
> there?

I think the dance teacher is the wife of I Nyoman Wenten, in which case 
she should still be here.  And yes, she is certainly (insert positive 
comment here), as is the rest of the Indonesian music department.

--Andre

------------------------------
Date: Tue, 5 Nov 1996 11:43:42 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: BRACE YOURSELVES!!!
Message-ID: <Pine.SGI.3.91.961105114305.5239C-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Tue, 5 Nov 1996, Ray Peck wrote:

> >WOW!  I didn't know Peter Thalen was staging concerts!  Can somebody 
> >forward me the Expose web site, or Thalen's e-mail address?  One of us 
> >should get in touch with him ASAP.
> 
> I don't know Peter, but my friend Mike Grimes is invoved with the
> 'zine and the concerts (his band Puppet Show is headlining soon).
> 
> grimes@chem.Stanford.EDU
> 
> Tell him I sent you.

I'll forward a copy of the letter I sent to Thalen to the above address.  
Thanks for the info.

--Andre

------------------------------
Date: Tue, 5 Nov 1996 16:03:15 -0500
From: jspeer@haverford.edu
To: Loopers-Delight@annihilist.com
Subject: Re: Bon Live, NY NJ PA DE Loopers
Message-Id: <9611052005.AA07190@acc>

Hello all,

I am not a looper myself, but I am in Philly and interested in looped
music.  Any NJ, PA, or DE loopers, please feel free to put me on your
mailing list or forward me your gig schedule.  I'm definately interested in
coming out to see you play.

Jim Speer
jspeer@haverford.edu


>>I am a loopist, experimental guitarist here in Delaware about 45 min from
>philly

**********************
My Town: Philadelphia!

------------------------------
Date: Tue, 5 Nov 1996 15:07:01 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: How about a Loopers-Delight CD?
Message-Id: <199611052307.PAA09224@pure.PureAtria.COM>

"Louis Collier Hyams" writes:
>
>> I would like to have a spiral in the background.
>> Anyone knows how to create a spiral on the puter?
>>
>> Matthias
>
>what kinda spiral do yah want? QED(quite easily done)
>

It would be cool to write a PostScript program to generate a spiral of
guitars.  It's probably pretty close to one of the programming book
examples (although it's been a couple years since I looked at them).

------------------------------
Date: Tue, 5 Nov 1996 15:28:26 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: The latest on the West Coast Summit
Message-Id: <199611052328.PAA11795@pure.PureAtria.COM>

>I do recommend that regardless of where the event takes place, that it be
>videotaped for those who can't make it.

And audiotaped.  I can bring my Pana 3800.  I'm sure people have
better mics/mic preamps than my MarcSounds (like Core Sounds) mics.

If not, I'll bring those, too.

------------------------------
Date: Tue, 5 Nov 1996 18:46:40 -0500
From: PMimlitsch@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: Tape Idea
Message-ID: <961105184639_1148257687@emout04.mail.aol.com>

Would it be possible to do the same thing with Zip cartridges and Sound
Designer II files?

------------------------------
Date: Tue, 5 Nov 1996 17:32:15 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: loopers-delight@annihilist.com
Subject: Yet more on the West Coast gig (sorry for the new subject, Matthias)
Message-ID: <Pine.SGI.3.91.961105173101.8443A-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

Here's a bit of promising news from Expose magazine.

---------- Forwarded message ----------
Date: Tue, 5 Nov 1996 12:55:57 -0800 (PST)
From: Michael T. Grimes <grimes@chem.Stanford.EDU>
To: The Man Himself <altruist@shoko.CALARTS.EDU>
Subject: Re: Greetings

> Hello --
> 
> Ray Peck recommended that I talk to you about the possibility of 
> organizing a Bay Area show through Expose.  Below is a copy of a letter I 
> sent to Peter Thalen, which should be self-explanatory.
> 
> Thanks,
> 
> --Andre

        Thanks for the interest.  Our premiere concert event is this
upcoming Friday night, so everyone is busy getting ready for that.
Next week, we are all getting together (the exposure concert
committee) to plan out future events.  The scope of our musical
interests are very broad and we are intentionally organizing shows
with diverse styles of music.  Feel free to send either myself or
Peter any updated information about the loop summit.  We'll be in
touch.  

mike

ps I'm good friends with Ray Peck, so if you know him, you can get
info to me through him as well.

------------------------------
Date: Tue, 5 Nov 1996 20:22:56 -0800
From: studio seventeen productions <ambient@adnc.com>
To: Loopers-Delight@annihilist.com
Subject: logistics nightmare?
Message-Id: <199611060422.UAA02512@barley.adnc.com>
Content-Type: text/plain; charset="us-ascii"

firstly, although it's not his personal preference, god bless our
long-suffering leader KIM FLINT for digesting this fine list.

thanks!



secondly...the west coast gig is getting...well maybe out of hand?

two days, and only one hour each?  my latest two releases each contain a
song running in excess of 30 minutes!

many of my pieces run 10, 15, 20 minutes (although as Matthias knows I ALSO
do SHORT PIECES :) )


here's a thought:

what about TWO gigs?  one for us SOUTHERNERS (LA, San Diego) and one for the
NORTHERNERS (San Francisco and nearby).

this would mean LONGER SETS for each artist, a shorter (one-day??) show...

and EACH could be videod for distribution (say for a nominal fee) amongst
ourselves.


JUST A THOUGHT...but two days...(i think I might go mad!)

plus, I work 50 hours a week and the Bay area is just too far to travel at
this point.


any thoughts?????????????????



dave @ 17
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: Tue, 5 Nov 1996 23:08:29 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-ID: <Pine.SGI.3.91.961105230254.11478A@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Tue, 5 Nov 1996, studio seventeen productions wrote:

> here's a thought:
> 
> what about TWO gigs?  one for us SOUTHERNERS (LA, San Diego) and one for the
> NORTHERNERS (San Francisco and nearby).
> 
> this would mean LONGER SETS for each artist, a shorter (one-day??) show...
> 
> and EACH could be videod for distribution (say for a nominal fee) amongst
> ourselves.
> 
> JUST A THOUGHT...but two days...(i think I might go mad!)

This might be the way to go, ultimately.  I'd love to see both Northern
and Southern California represented in one concert, and I personally would
remain in favor of fairly short sets.  (Mind you, an hour isn't exactly
the model of brevity!)  But it may well be that the logistics of trying to
do a show with all of the interested parties, coupled with people's
scheduling conflicts, would prove too much at this point.  And if some 
people are unable to participate due to the complications of travel or 
time, then the main point of the thing (IMO) goes out the window.

All right, how many people (including those who have already replied AND 
those who haven't put their name in as interested performers) would 
prefer seperate Bay Area and LA gigs, and would be interested in putting 
themselves down as performers?

--Andre

------------------------------
Date: Wed, 6 Nov 1996 10:35:33 +0100 (MET)
From: Olivier Malhomme <malhomme@infobiogen.fr>
To: Loopers-Delight@annihilist.com
Subject: Re: How about a Loopers-Delight CD?
Message-ID: <Pine.SOL.3.95.961106103440.9286E-100000@lovelace.infobiogen.fr>
Content-Type: TEXT/PLAIN; charset=US-ASCII

Siigggh! I f you want a good one I guess we'll have a fractal one
it is sooo fashionable...


Olivier Malhomme

On Mon, 4 Nov 1996, Louis Collier Hyams wrote:

> 
> > I would like to have a spiral in the background.
> > Anyone knows how to create a spiral on the puter?
> >
> > Matthias
> 
> what kinda spiral do yah want? QED(quite easily done)
> 
> 

------------------------------
Date: Wed, 6 Nov 1996 11:03:42 +0100 (MET)
From: Olivier Malhomme <malhomme@infobiogen.fr>
To: Loopers-Delight@annihilist.com
Subject: Viola......
Message-ID: <Pine.SOL.3.95.961106105053.9286F-100000@lovelace.infobiogen.fr>
Content-Type: TEXT/PLAIN; charset=US-ASCII

In fact, at first the "viola de gamba" had six strings. Then Mr de Saintes
Colombes (his first name was never known) added a seventh in the low
register. (it was around the end of the 17th century). He had relationship
that remain obscure with another viola genius named Marin Marais. This
later man entered the court of Louis the XIV. Saintes Colombes could'nt
stand mundane way of life and only dedicated himself to craft, to the
point of not taking good care of his children. He refused to play for the
King, which astonishingly excused (that could have led him in prison for
life) because his genius was well known, and never made it to the court
despite extensive try. We know very little otherwise of the man, he
destroyed nearly all his work saved for a few books Marin Marais stole.
I'm not sure but the tuning (before this seventh string) was fourth with a
major third, like another 6 string intrument you all know.

Check anything from Viola virtuso Jordi Savall..... This intrument is
thousands time more "human" and richer than the cello it gave birth. It
has more polyphony too. One of the best thing I've heard.


Olivier still-addicted-to-viola-de-gamba Malhomme

------------------------------
Date: Wed, 6 Nov 1996 10:11:02 -0500
From: KILLINFO@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-ID: <961106101100_1747710850@emout01.mail.aol.com>

Andre:

> All right, how many people (including those who have 
> already replied AND those who haven't put their name 
> in as interested performers) would prefer seperate 
> Bay Area and LA gigs, and would be interested in putting 
> themselves down as performers?

I'm in, I hope. And I'd like to think myself flexible enough
to be able to do either (or both) of the possible locales.

Also:

> Mind you, an hour isn't exactly the model of brevity!

Well perhaps not. But to drive 400+, miles lug heavy gear
with a bad back (remember some of us are no longer as
young as we once were), spend 15 to 20 minutes setting 
up and dialing in a complicated rig (and our muse), for 
a mere 15 to 20 minute spot does not seem to be that 
much of a trade off. My wife thinks I'm crazy to do it
for a mere hour (3 kids, 18 years of marriage and I still 
can't get no respect--ha!). 

I'd do it for the smaller spot, but I'm affraid that I'd 
just be warming up and have to stop. It's not so much 
that "brevity" is a problem per se--it's more a matter 
of "invoking the spirits" (for lack of better terms) 
that seems to take all of the time (particularly under 
harried and stressful circumstances). 

Ted Killian

------------------------------
Date: Wed, 6 Nov 1996 09:58:57 -0800
From: improv@peak.org (Dave Trenkel)
To: Loopers-Delight@annihilist.com
Subject: Re: Javanese music
Message-Id: <v01510102aea18c1de291@[128.193.5.160]>
Content-Type: text/plain; charset="us-ascii"

>There are some definite connections between that sort of music and
>looping, I'd say, particularly since most of the Javanese music I played
>consisted of what could be described in Western terms as one or two
>(occasionally more) eight or sixteen-bar cycles repeated for a looooong
>time.  Fifteen to twenty minutes was the average length of time for a lot
>of the pieces we played.  It's one thing to hear an electronic loop
>spinning that long, but it's another thing to actually have to manually
>play it over and over while sitting cross-legged on the floor.  (Ouch).
>
Gamelan was always a big inspiration to me too. In a similar vein, I spent
3 years playing traditional Zimbabwean marimba music in a band called
Balafon, with 6-8 people playing interlocking marimba parts and usually 3-4
percussionists. When you get those long 3 against 4 or 2 against 3 parts
really locked up, it can send you to heaven. Even though the stuff I do now
is sonically a million miles away from that stuff, it has influenced the
how I play in a very deep way, especially when locking up with a drummer.


________________________________________________________
Dave Trenkel, NEW EMAIL ADDRESS: improv@peak.org
self promotional web-site: http://www.peak.org/~improv/
"A squid eating dough in a polyethelene bag is fast
and bulbous, got me?"
                                     -Captain Beefheart
________________________________________________________

------------------------------
Date: Wed, 6 Nov 1996 16:26:02 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: new standard tuning
Message-Id: <v01520d01aea53f59a529@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

Thanks, Michael for: about Fripp's "New Standard Tuning":

>I had this musical crisis years ago when I was simply fed up with what I
>played. I really couldn't help but notice that my playing repeated itself,
>that I used other guitarists' phrases and chords, and I got bored to the
>point of almost giving up the guitar altogether.

I had that in '84, after a Hendrix phase, I took a one year break and then
restarted (with the same tuning) with Loop carpets (no rythm, no melody at
the beginning).
Maybe its typical for an artist to first learn what others did, then get
bored with it and then in a critical phase his personal music comes
through.
Maybe several such "pealings" are possible?
A lot of professional musicians though I admire because they play anything
brilliantely, but nothing of their own.

So now, I keep repeating myself and simply like it... :-)

Matthias

------------------------------
Date: Wed, 6 Nov 1996 16:26:24 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: Joni Mitchell
Message-Id: <v01520d00aea59dbdd865@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

>On Nov 3,  7:27pm, Matthias Grob wrote:
>> Subject: Re: Joni Mitchell
>> Certainly: one of the few female musicians that made it with her own
>> compositions and playing, not just voice and beauty.
>
>Joni is wundergruvie, but Matthias that is one *fucked* up thing to say.

What's wrong? Did not understand.


>> Badi Assad
>
>ooh, "Bajee" is bad ya'll. ever checked her out?
>I suppose Matthias has probably seen her live being in Brazil. Maybe her
>brothers also?

Nope. Salvador is more into drumming. But she will appear here, I will help
to it.
I saw a one hour show/worshop on TV and simply fell in love. There are
probably very few guitarplayers in the world who play that disciplined
clean and quick and still sing that well and compose and include non
conventional playing and singing technics. I saw her playing percussion
with one hand, taping the bassline on a classical guitar with the other and
singing along with it.
And between the pieces she tells all those neat storys, totaly humble and
beautyfull <smac>.

But to get her CD's, I had to order in US, at Chesky :
http://www.chesky.com/chesky/programs/engine?SPLASH

Get "Rythms", recorded in a church with a percussionist. No overdubbs. No
doubts.

Matthias

------------------------------
Date: Wed, 6 Nov 1996 16:26:44 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: How about a Loopers-Delight CD?
Message-Id: <v01520d03aea5abff3208@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

>> I would like to have a spiral in the background.
>> Anyone knows how to create a spiral on the puter?
>>
>> Matthias
>
>what kinda spiral do yah want? QED(quite easily done)

How should I explain... Be creative, or give me the program so I can be.
Moving in spirals would be the higher dream, but to be able to play around
with statics in 3D...
Well, maybe I cannot handle that.

I should probably think about it more concretely
Any contributions?

Thanks
Matthias

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Date: Wed, 6 Nov 1996 18:52:41 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: When?  Where?
Message-Id: <v01520d04aea690627dc7@[200.254.32.106]>
Content-Type: text/plain; charset="us-ascii"

Now I understood, Collier

>has rolf ever begun to use email?

No. Not very popular in switzerland.

>I'd like to contact him, but due to "keine
>geld" for the telephono and such, I can't just call him up.

Use fax 0041 52 233 3443

say helo
Matthias

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Date: Wed, 6 Nov 1996 15:56:17 -0600 (CST)
From: Jon Morris <jonmor@beacon.moontower.com>
To: Loopers-Delight@annihilist.com (loopers delight)
Subject: geography
Message-Id: <199611062156.PAA17333@beacon.moontower.com>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

Sorry to bother all of you with this, but considering all the recent talk 
of get-togethers and such -- 

are there any Texas-based loopers out there? 

-Jon
jonmor@moontower.com

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Date: Wed, 6 Nov 1996 16:29:28 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-ID: <Pine.SGI.3.91.961106161409.18117A-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Wed, 6 Nov 1996 KILLINFO@aol.com wrote:

> > Mind you, an hour isn't exactly the model of brevity!
> 
> Well perhaps not. But to drive 400+, miles lug heavy gear
> with a bad back (remember some of us are no longer as
> young as we once were), spend 15 to 20 minutes setting 
> up and dialing in a complicated rig (and our muse), for 
> a mere 15 to 20 minute spot does not seem to be that 
> much of a trade off. My wife thinks I'm crazy to do it
> for a mere hour (3 kids, 18 years of marriage and I still 
> can't get no respect--ha!). 
> 
> I'd do it for the smaller spot, but I'm affraid that I'd 
> just be warming up and have to stop. It's not so much 
> that "brevity" is a problem per se--it's more a matter 
> of "invoking the spirits" (for lack of better terms) 
> that seems to take all of the time (particularly under 
> harried and stressful circumstances). 

This is a very good point; the main inclination for an hour-long set 
would be to ensure that all participants had some opportunity to play.  
But as it seems more and more likely that the "gig" will in fact be 
divided between the different state regions, it does seem that longer 
sets would be both more feasible and more appropriate.

And I definitely agree as far as the tradeoff of set-up time vs. 
performance time; I try to operate under a maxim that I don't spend more
time setting up and tearing down geat than I spend actually playing music,
and hour-long sets could well walk the border for some of us (myself
included).  And there's no point in creating an environment where
everything is so harried and rushed that it's a struggle just to try and
get yourself into a solid frame of mind. 

The flip side is that, as Dave @17 indirectly alluded to, if you've got
just four people playing an average of 90 minutes to two hours for their
set, and you figure in *at least* a half hour between sets for changeovers
of gear (any realistic scenario will probably be more on the order of at
least 45 minutes), then you've got somewhere between 8 and ten hours of
gig time for four people!  This was the main thing on my mind when I
suggested the "short" set length of an hour as a guideline. 

It looks more and more like we'll have to do seperate northern and
southern gigs, both for the logistical purposes and for the sheer amount
of time involved in accommodating the performance needs of a handfull of
people.  More problematically, just the fact that the average desired set
length seems to be in the 90 minute to 2-hour range means that the whole
program will be far too long to stage in a situation such as Nels Cline's
New Music night (or any club for that matter), unless the proceedings are
spread across several nights or weeks.  And then it becomes less of an
actual gathering than it does a series of seperate solo gigs.  Not a bad 
scenario by any means, but definitely not the same sort of thing as a 
summit concert. 

Damn, it gets complex, don't it?  8-/

Thanks to Ted and the rest for the very astute suggestions.  Any ideas on
where to go at this point?  I must confess I'm a bit stymied. 

--Andre

------------------------------
Date: Wed, 6 Nov 1996 16:59:39 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: Tape Idea
Message-Id: <199611070059.QAA11856@pure.PureAtria.COM>

PMimlitsch@aol.com writes:
>Would it be possible to do the same thing with Zip cartridges and Sound
>Designer II files?

I can do SDII, but not ZIPs.  Data DATs (and audio DATs) are cool.

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