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

Loopers-Delight-d Digest                                Volume 96 : Issue 13

Today's Topics:
  Re: logistics nightmare?              [ Joe Cavaleri <cavaleri@simi-valley. ]
  Re: logistics nightmare?              [ KILLINFO@aol.com ]
  Re: logistics nightmare?              [ The Man Himself <altruist@shoko.CAL ]
  Re: philsophical background           [ Michael Preston <michpres@erols.com ]
  Re: Javanese music                    [ Michael Preston <michpres@erols.com ]
  Sync cable                            [ Chris Chovit <cho@gomez.jpl.nasa.go ]
  Re: logistics nightmare?              [ Chris Chovit <cho@gomez.jpl.nasa.go ]
  Re: How about a Loopers-Delight CD?   [ Michael Peters <100041.247@compuser ]
  Re: logistics nightmare?              [ Doug Michael <dmic27@ccnet.com> ]
  Mid-Atlantic Loop Show?               [ jspeer@haverford.edu ]
  Re: logistics nightmare?              [ improv@peak.org (Dave Trenkel) ]
  Re: logistics nightmare?              [ improv@peak.org (Dave Trenkel) ]
  re:Oberheim support change?           [ "Bret Moreland" <Bret_Moreland@maxt ]
  Re: Mid-Atlantic Loop Show?           [ Michael Preston <michpres@erols.com ]
  Re: Mid-Atlantic Loop Show?           [ patrick@his.com (Patrick Smith) ]
  Re: Mid-Atlantic Loop Show?           [ ccohen@voicenet.com (Charles Cohen) ]
  Re: Mid-Atlantic Loop Show?           [ Paulpop@ssnet.com (Paul Poplawski,  ]
  Re: Mid-Atlantic Loop Show?           [ Jonathan Brainin <jbrainin@easyway. ]
  Re: philsophical background           [ matthias@bahianet.com.br (Matthias  ]
  Re: Javanese music                    [ matthias@bahianet.com.br (Matthias  ]

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------------------------------
Date: Wed, 06 Nov 1996 17:44:57 -0800
From: Joe Cavaleri <cavaleri@simi-valley.ate.slb.com>
To: Loopers-Delight@annihilist.com
Cc: mgregorczik@genscan.com
Subject: Re: logistics nightmare?
Message-Id: <2.2.32.19961107014457.006866b4@svars1.simi-valley.ate.slb.com>
Content-Type: text/plain; charset="us-ascii"

                Just a thought..

        If and when this performance were to happen, it seems that several
        performers might set-up on stage in advance. The advantages would
        be reduced over-all set up time.(There's that damm mfg. language
        kickin' in). It will also allow the opportunity for some of us to
improvise with others. I think the "new music night" in L.A. is a
        good idea, but I'm open to just about anything.
        
        

                                joe


At 04:29 PM 11/6/96 -0800, you wrote:
>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 21:58:01 -0500
From: KILLINFO@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-ID: <961106215758_1914789081@emout01.mail.aol.com>

Andre,

Here's a somewhat simpleminded idea that might work:

Let us suppose that a largish room could be had some
where (not totally dissimilar to the place you played in
last week, but maybe a little more squarish in shape). 

4 performers could set up at one time in opposite 
corners of the performance space (with the audience 
in the middle) and each play his/her set in turn (with 
the audience turning their chairs to reorient themselves 
to each new "stage."

4 players at 40-45 minutes each without between-play
setup time could do a 3 hour concert. 

To do an all-day affair with 8 (or even 12 for a real 
marathon summit) just continue to do all the setups 
4-at-a-time (therby offering some longer intermissions 
for food and other requirements to the audience). 

An interesting by-product could be the possibility of a surround-sound group
"jam" to finish off each series of 
4 players.

This may strike some as totally lame...but hey, it's just 
an idea. Many communities around the area have these
"black Box" performance spaces (or at least a few fairly underused
theatrical-cum-warehouse-cum-artspaces).

Ted

------------------------------
Date: Wed, 6 Nov 1996 19:10:25 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-ID: <Pine.SGI.3.91.961106190706.10053A-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

Ted and Joe --

Wow, what an interesting pair of approaches.  It seems to me that having a
mass pre-show setup scenario would solve a lot of problems, and also make
for a much more interesting environment.  My own sense is that this "sort"
of music (if we can make that kind of generalization) is better served in
a more immersive space rather than in a club or bar. 

What do other people think about this?  The next step, of course, is to 
try and find a place in LA/San Fran to facilitate this sort of approach...

Great ideas, keep 'em coming!

--Andre 

------------------------------
Date: Thu, 07 Nov 1996 22:17:24 +0000
From: Michael Preston <michpres@erols.com>
To: Loopers-Delight@annihilist.com
Subject: Re: philsophical background
Message-ID: <32825FF4.6855@erols.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Matthias,

You kindly replied:

>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.

>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.

Yes, I could make some notes or annotations on these books and essays.It 
is true that Heidegger's work is difficult. I was once lucky enough to 
be part of an interpretive community of fellow students that wanted to 
read big chunks of "Being and Time" line by line, pausing to discuss and 
react to passages in the text. None of us had an easy time reading it, 
mostly because Heidegger oddly structures the arguments and invents 
idiosyncratic terms in order to disclose ways of conceiving of human 
being (being human) which are not apparent under the standard and 
transparently ever-present Cartesian ways of conceiving human being. I 
don't know if reading "Being and Time" has improved my improvising, but 
it has provided a sort of alternative paradigmatically self-referential 
view or understanding of all human activity. Many of the people I read 
"Being and Time" with are artists and performers, so the discussion 
often ranged over issues of the meaning of artistic activity and 
expression. read "Being and Time" and ponder Heidegger's idea of 
"thrownness" with a bunch of fellow travellers, or a good companion 
guidebook like Hubert Dreyfus' "Being-in-the-World."

Anyway, this philosophical background page idea is a good one. I would 
like to contribute to this. It may take me a long time to come up with 
something thoughtfully produced which isn't pedantic or otherwise a 
possible bore, but I'd give it a try, especially if others will too. 

Here's a sample quote from Francisco Varela, et.al.:
"Evocations of Groundlessness:
Our journey has now brought us to the point where we can appreciate that 
what we took to be solid ground is really more like shifting sand 
beneath our feet. We began with our common sense as cognitive scientists 
and found that our cognition emerges from a background of a world that 
extends beyond us but that cannot be found apart from our embodiment. 
When we shifted our attention away from this fundamental circularity to 
follow the movement of cognition alone, we found that we could discern 
no subjective ground, no permanent and abiding ego-self. When we tried 
to find the objective ground that we thought might still be present, we 
found a world enacted by our history of structural coupling [acts of 
meaning-making emerging over time as constructions or traditions of 
conception and understanding]. Finally, we saw that these various forms 
of groundlessness are really one: organism and environment enfold into 
each other and unfold from one another in the fundamental circularity 
that is life itself." 
This quote is from the book "The Embodied Mind" by Francisco Varela, 
Evan Thompson, and Eleanor Rosch. Cambridge, MA: MIT Press, 1991 
(p.217).

Sometimes the jargon can get in the way, and sometimes it carries us 
forward: to a deeper understanding of what is common, or strange, or 
beautiful. 
More later.

Thankyou,
Michael Preston

------------------------------
Date: Thu, 07 Nov 1996 22:40:21 +0000
From: Michael Preston <michpres@erols.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Javanese music
Message-ID: <32826555.1DA@erols.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Dave Trenkel,

I was following the discussion of Javanese music, and I was thrilled to 
read that you were a member of Balafon! I heard Balafon play in Portland 
a few times in the early 80s, and you're right:

> When you get those long 3 against 4 or 2 against 3 parts
> really locked up, it can send you to heaven.

It certainly sent me to a heaven-like place on the dance floor. We have 
a Shanachie CD of Balafon, which was in HEAVY rotation at our house this 
summer as the best music to dance our infant son to sleep by. 

I have been fascinated with Zimbabwean music since those days in OR. 
Over the past three years I have made many Mbira-type instruments, and 
this summer I made my first marimba. I used maple for the keys, and had 
some trouble finding even-grained pieces at our local home improvement 
superstore. It was tough to tune. I love the sound though. I've kept it 
simple, with no resonator tubes. I'd like to make another one. I'd like 
to make one of those jumbo Basso-Profundo types. Do you have any 
recommendations on appropriate woods for such a marimba? Know any good 
sources for wood and/or drawn plans for marimbas?

Fast and bulbous. Yeah.

Michael Preston

------------------------------
Date: Wed, 6 Nov 1996 20:19:01 -0400
From: Chris Chovit <cho@gomez.jpl.nasa.gov>
To: Loopers-Delight@annihilist.com
Subject: Sync cable
Message-Id: <v03007802aea6ce65724e@[137.79.94.141]>
Content-Type: text/plain; charset="us-ascii"

Ted's thought:

>4 performers could set up at one time in opposite
>corners of the performance space (with the audience
>in the middle) and each play his/her set in turn (with
>the audience turning their chairs to reorient themselves
>to each new "stage."
>
>4 players at 40-45 minutes each without between-play
>setup time could do a 3 hour concert.
>
>An interesting by-product could be the possibility of a surround-sound group
>"jam" to finish off each series of
>4 players.

got me thinking:

For those of us with Echoplex DP's, if we all had brother sync "Y" cables
with 1 male  (3 conductor) connector on one end and 1 male and 1 female on
the other ends of the "Y", then it'd be quite easy to sync many of them
together, for events such as this.  Plus, headphone extension cables would
work for long distance patching.

Kim, did Oberheim modify the units they shipped, after you discovered the
design flaw [which prevents 4 or more units from brother syncing together]?
(or is that wishful thinking....?)
It would be wonderful to have folks in 4 corners of the room synced
together, co-creating loops!  If we each brought the Y cable (for each of
our EDP's), a headphone extension cable, and made sure we had the resistor
swap, it would be easy.

- chris

---------------------------------------
Chris Chovit
cho@gomez.jpl.nasa.gov
---------------------------------------

------------------------------
Date: Wed, 6 Nov 1996 20:16:19 -0400
From: Chris Chovit <cho@gomez.jpl.nasa.gov>
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-Id: <v03007804aea6d4f7fe96@[137.79.94.141]>
Content-Type: text/plain; charset="us-ascii"

I like these ideas that have been presented:

-- separate N. and S. Cal get-together's -- This would minimize driving
time and hopefully limit it to a one-day event (2 full, consecutive days of
looping could drive me loopy!) -- [sorry...I suppose that pun is
ultra-banal on this list.....]

-- multiple "stages" to maximize performance time -- The "shifting" stage
sounds really interesting.  And the 4-way jam is the best part!

I can be available for monitoring the audio recording (my DAT is available,
as well).  A 30-minute performance time would be adequate for me, and I
would especially be interested in jamming (and syncing) with others.

- chris

---------------------------------------
Chris Chovit
cho@gomez.jpl.nasa.gov
---------------------------------------

------------------------------
Date: 07 Nov 96 01:50:59 EST
From: Michael Peters <100041.247@compuserve.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: How about a Loopers-Delight CD?
Message-ID: <961107065058_100041.247_JHB50-1@CompuServe.COM>

Olivier about spirals on covers:
 
> Siigggh! If you want a good one I guess we'll have a fractal one
> it is sooo fashionable...
 
you probably think of those typical Mandelbrot set zooms which contain
spirals. Right? Everyone and his grandfather have these on covers, that's
right, but there are other ways to make spirals with 'strange attractors'.
When I have time I'll put some together to show what I mean.
 
-Michael

------------------------------
Date: Thu, 7 Nov 1996 08:28:26 -0800 (PST)
From: Doug Michael <dmic27@ccnet.com>
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-ID: <Pine.SUN.3.95.961107082032.25909A-100000@ccnet3>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Wed, 6 Nov 1996, Chris Chovit wrote:
> I like these ideas that have been presented:
> 
> -- separate N. and S. Cal get-together's -- This would minimize driving
> time and hopefully limit it to a one-day event (2 full, consecutive days of
> looping could drive me loopy!) -- [sorry...I suppose that pun is
> ultra-banal on this list.....]
> 
> -- multiple "stages" to maximize performance time -- The "shifting" stage
> sounds really interesting.  And the 4-way jam is the best part!

Hello,
I also like these ideas - Does anyone have a band or is this going to be
all solo performers with mainly the guitar as the instrument?  Although
I do use looping in my music it is by far not the only thing I do.  The
group I have been playing in does all instrumental stuff sometimes
ambient, sometimes not so ambient.  It might be nice to mix it up a little
- a couple of groups and a couple of solo performers.
   Any comments?
   Doug Michael

------------------------------
Date: Thu, 7 Nov 1996 14:41:25 -0500
From: jspeer@haverford.edu
To: Loopers-Delight@annihilist.com
Subject: Mid-Atlantic Loop Show?
Message-Id: <9611071843.AA06487@acc>

Hi Loopers,

I'd like to find out how many folks would be interested in participating in
a looped music night in Philadelphia.  I've successfully set up some shows
on behalf of some small venues in the city in the past, and I believe I
could do the organization and legwork for such a show.

I'm not a looper myself, but I'm a big fan of looped music.  Anyone
interested, please speak up now.  Drop me an e-mial, or post here.

Later!
Jim

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

------------------------------
Date: Thu, 7 Nov 1996 11:16:22 -0800
From: improv@peak.org (Dave Trenkel)
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-Id: <v01510101aea7e2ef47ba@[128.193.5.48]>
Content-Type: text/plain; charset="us-ascii"

>On Wed, 6 Nov 1996, Chris Chovit wrote:
>> I like these ideas that have been presented:
>>
>> -- separate N. and S. Cal get-together's -- This would minimize driving
>> time and hopefully limit it to a one-day event (2 full, consecutive days of
>> looping could drive me loopy!) -- [sorry...I suppose that pun is
>> ultra-banal on this list.....]
>>
>> -- multiple "stages" to maximize performance time -- The "shifting" stage
>> sounds really interesting.  And the 4-way jam is the best part!
>
>Hello,
>I also like these ideas - Does anyone have a band or is this going to be
>all solo performers with mainly the guitar as the instrument?  Although
>I do use looping in my music it is by far not the only thing I do.  The
>group I have been playing in does all instrumental stuff sometimes
>ambient, sometimes not so ambient.  It might be nice to mix it up a little
>- a couple of groups and a couple of solo performers.
>   Any comments?
>   Doug Michael
I was wondering about this as well, since I'd be interested in either
coming down with a band and/or collaborating/improvising with other
participants. I'm just not a solo performer. My band has been planning a
trip to the bay area for a while, though we do not as yet have specific
dates booked, it'd be great if we could do this and the loop fest on the
same trip. Oh yeah, the guitarist, and I do looping, and the drummer does
his best to throw us all for a loop...

________________________________________________________
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: Thu, 7 Nov 1996 11:16:31 -0800
From: improv@peak.org (Dave Trenkel)
To: Loopers-Delight@annihilist.com
Subject: Re: logistics nightmare?
Message-Id: <v01510102aea7e4d0b8c5@[128.193.5.48]>
Content-Type: text/plain; charset="us-ascii"

>Ted and Joe --
>
>Wow, what an interesting pair of approaches.  It seems to me that having a
>mass pre-show setup scenario would solve a lot of problems, and also make
>for a much more interesting environment.  My own sense is that this "sort"
>of music (if we can make that kind of generalization) is better served in
>a more immersive space rather than in a club or bar.
>
>What do other people think about this?  The next step, of course, is to
>try and find a place in LA/San Fran to facilitate this sort of approach...
>
These are both good approaches because it could balance the desire to get
as many people playing as possible with the long time-frame that this music
often demands. If we each get an hour, but it's part of a continous
immersive music experience, it could be pretty great. Hell, bring some
lazers and drum machines, and we could have a rave...

________________________________________________________
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: Thu, 7 Nov 96 13:58:42 MST
From: "Bret Moreland" <Bret_Moreland@maxtor.com>
To: <Loopers-Delight@annihilist.com>
Subject: re:Oberheim support change?
Message-ID: <vines.PP59+0qYUmA@Longmont64.Maxtor.COM>
Content-type: text/plain;
               charset=US-ASCII

You echoplex users may be interested in what just occurred with me and 
Oberheim.  

As you may recall from my plea here for help, I had been in communication 
with Mike Lyon at Oberheim to get hardware upgrade parts and rework 
documentation for the Echoplex.  At first I appeared to be making 
progress, then no response from him for 2 weeks.  I kept sending Emails, 
and voice mails pleading for a response, then yesterday thought to copy 
the Gibson Customers Service (relations@gibson.com).

A few hours later, Mike Lyon sends an Email saying he had been out of town 
last week, but had most of the documents and parts together, the others 
are on order, expect to ship them to me by the end of this week.  

Then today I received a call from Kevin Philbin in Nashville with Oberheim 
Sales and Service.  He says he was forwarded my Email asking what was 
going on (Subject:  Is there anybody out there?).  I had also stated my 
frustration when I got no response for 2 weeks.  He gave me his extension, 
and said that  now if you call the Oberheim for support it will ring at 
his desk.  I do have his extension:  1-800-444-2766 ext. 651.  His Email 
is k.philbin@gibson.com

I don't know exactly what changed in how they are doing Oberheim customer 
support, but they are appearing more responsive than they were in my 
previous encounters.  It is nice to be able to call the guys desk, instead 
of only reaching an answering service.  

Is there a service manual for the Echoplex?  

regards,
bret

------------------------------
Date: Fri, 08 Nov 1996 16:58:46 +0000
From: Michael Preston <michpres@erols.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Mid-Atlantic Loop Show?
Message-ID: <328366C6.199@erols.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Jim, 

I live in Baltimore.

> I'd like to find out how many folks would be interested in participating in
> a looped music night in Philadelphia.

 I'm interested in at least attending loop night in Philadelphia, 
possibly performing. Performing after the holiday season would be best 
for me. Thanks for suggesting 
the possibility.

Michael Preston

------------------------------
Date: Thu, 7 Nov 1996 16:46:21 +0200
From: patrick@his.com (Patrick Smith)
To: Loopers-Delight@annihilist.com
Subject: Re: Mid-Atlantic Loop Show?
Message-Id: <v01520d01aea7a64b455b@[205.177.25.43]>
Content-Type: text/plain; charset="us-ascii"

>Hi Loopers,
>
>I'd like to find out how many folks would be interested in participating in
>a looped music night in Philadelphia.


Hi Jim,

Steev Geest and I have a duo Fingerpaint which heavily relies on looping.
I'm talking for both of us right now, But I Know Steev will bite. Keep us
posted. BTW We live in the DC suburbs.

Patrick

------------------------------
Date: Thu, 7 Nov 1996 19:46:31 -0500 (EST)
From: ccohen@voicenet.com (Charles Cohen)
To: Loopers-Delight@annihilist.com
Subject: Re: Mid-Atlantic Loop Show?
Message-Id: <v01530501aea7ebab6ba6@[207.103.11.239]>
Content-Type: text/plain; charset="us-ascii"

>I'd like to find out how many folks would be interested in participating in
>a looped music night in Philadelphia.

Count me in.


cc


   ****      ****      What's Charles up to?      ****      ****
                  http://www.voicenet.com/~ccohen

------------------------------
Date: Thu, 7 Nov 1996 20:48:24 -0500
From: Paulpop@ssnet.com (Paul Poplawski, Phd)
To: Loopers-Delight@annihilist.com
Subject: Re: Mid-Atlantic Loop Show?
Message-Id: <v01520d00aea841780178@[205.216.96.60]>
Content-Type: text/plain; charset="us-ascii"

I would be interested in a loop/experimental music forum/show in philly

------------------------------
Date: Thu, 07 Nov 1996 21:01:00 -0500
From: Jonathan Brainin <jbrainin@easyway.net>
To: Loopers-Delight@annihilist.com
Subject: Re: Mid-Atlantic Loop Show?
Message-ID: <3282945C.4AF7@easyway.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

> >I'd like to find out how many folks would be interested in >>participating in a looped music night in Philadelphia.

I'm interested in a Philly show, but would prefer something
in NYC.  Is there anyone else interested in NY?

Jonathan

------------------------------
Date: Fri, 8 Nov 1996 02:18:21 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: philsophical background
Message-Id: <v01520d02aea7f9fe1398@[200.254.32.106]>
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Oh, Preston !
(Michael is taken, I am afraid and Preston sounds strong, in fact,
"prestar" in port. means that something works, has fundament)

I had suggested
>>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.

And you sent good "demo" bits and agreed:
>Anyway, this philosophical background page idea is a good one. I would
>like to contribute to this. It may take me a long time to come up with
>something thoughtfully produced which isn't pedantic or otherwise a
>possible bore, but I'd give it a try, especially if others will too.

No hurry, really. But maybe better something simple/short for a start that
a huge project that has no "return" for a long time.

>Sometimes the jargon can get in the way, and sometimes it carries us
>forward: to a deeper understanding of what is common, or strange, or
>beautiful.
>More later.

That's it! <shake hands>
Matthias

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Date: Fri, 8 Nov 1996 02:18:28 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: Javanese music
Message-Id: <v01520d03aea7fcd9bf36@[200.254.32.106]>
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Preston typed:
>I have been fascinated with Zimbabwean music since those days in OR.
>Over the past three years I have made many Mbira-type instruments, and
>this summer I made my first marimba. ...       I've kept it
>simple, with no resonator tubes. I'd like to make another one. I'd like
>to make one of those jumbo Basso-Profundo types. Do you have any
>recommendations on appropriate woods for such a marimba? Know any good
>sources for wood and/or drawn plans for marimbas?

We sure have a lot of really heavy woods down here (Salvador/Brazil).
And my partner Bira builds Kalimbas (=Mbira?) and all sorts of instruments.
He has some reasonable (under used) wood working machines.
For a resonator he has gourds (is that the big vegetable with the hard,
thin shell?). He uses them even for Kalimbas! And of course for the
Berimbaos.

Hoppi recorded a Bamboo Balaphon. Sounded really good. Especially the loop
I taped into the PCM42 while he played. Listen to it and a lot more bamboo
instruments on: David Hoppkins "Hear the grass" WERGO @ Harmonia Mundi USA,
Mike Skiansky, LA, phone (310) 478 1311.

One of my dreams is to build such instruments "solid body" with piezo pick up's.
To make the pickups is easy for me. The position of it is easy in case of
Kalimba, and a bit more difficult in case of marimba, but still possible.

We could install instrument builders courses down here:
Beach in the morning, sawing in the afternoon and 'Plex syncing at night!
Wana teach?
Matthias

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