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

Loopers-Delight-d Digest                                Volume 96 : Issue 22

Today's Topics:
  Re: phila. workshop                   [ Joe Cavaleri <cavaleri@simi-valley. ]
  Re: How does Schon Sync?              [ matthias@bahianet.com.br (Matthias  ]
  Re: Samplers as loopers?              [ matthias@bahianet.com.br (Matthias  ]
  Re: CD looper (was: Digital Guitar D  [ matthias@bahianet.com.br (Matthias  ]
  Drummers and Syncing                  [ matthias@bahianet.com.br (Matthias  ]
  Something to try, if you dare         [ jspeer@haverford.edu ]
  Re: Samplers as loopers?              [ sean o'donnell <sodonne@vm.temple.e ]
  Re: Something to try, if you dare     [ Kim Flint <kflint@chromatic.com> ]
  re:Re: Mermen recommendations?        [ "Bret Moreland" <Bret_Moreland@maxt ]
  unsynced unmidied loops               [ studio seventeen productions <ambie ]
  Re: Something to try, if you dare     [ Ray Peck <rpeck@PureAtria.COM> ]
  Re: CD looper (was: Digital Guitar D  [ Michael Peters <100041.247@CompuSer ]

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------------------------------
Date: Wed, 20 Nov 1996 12:00:23 -0800
From: Joe Cavaleri <cavaleri@simi-valley.ate.slb.com>
To: Loopers-Delight@annihilist.com
Subject: Re: phila. workshop
Message-Id: <2.2.32.19961120200023.00683810@svars1.simi-valley.ate.slb.com>
Content-Type: text/plain; charset="us-ascii"

                Hi all,

        This is truly incredible...  Wish I could attend.

 
>
>< Workshop Announcement >
>
> HIGHWIRE Gallery presents
>
> * L A P   A R T   workshop *
>
> o   Date: Wednesdays, November 13th and 20th
> o   Time: 7:30-9:30PM
> o   Place: at Highwire Gallery
>            137 N. 2nd Street, Philadelphia (btw Arch & Race Sts.)
> o   Fee: _Free_ and _Open_ to all
> o   Bring small scale art media such as sketchbooks, etc.
> o   Musicians may bring his/her instruments.
> o   For more information, respond to this email, or please call:
>     (NJ) Joe Plegman at (609) 795-0857 or
>     (PA) Toshi Makihara at (215) 659-0557




                        **** This is what it's all about****



 Experimentation, playfulness, openness, discovery --

>these are key themes and motivations of these creative laboratories. They are
>open to the public which may also participate. Each session is different
>in that the participants come with possibilities, ideas, and media, but no
>fixed agenda; thus new discoveries are possible.
>


                        Best wishes to all

                                joe
                        
                        
                

------------------------------
Date: Wed, 20 Nov 1996 18:51:47 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: How does Schon Sync?
Message-Id: <v01520d09aeb7cccbd631@[200.254.32.110]>
Content-Type: text/plain; charset="us-ascii"

>It takes a while to realize that the action with your foot
>on the pedal is a musical event, and has to be done in rhythm.

This it VERY NICELY PUT! Should enter the manual, FAQ, whatever.
The foot action on the pedal is a musical event.

>I've helped
>an awful lot of guitar players through this first step. You'd be amazed at
>how many people tap the record button, and then start playing a moment
>later.

I made that experience, too. Sad enough, even with guys that have the unit
for a year and had understood once. Nervosity...

>It's easy for me to poke fun at Journey and Neal, being journey and all,
>but he really is a pretty good musician. When I was first showing him how
>to use the Echoplex, for some reason he decided to record a solo first, and
>overdub the rhythm part. He had over 30 seconds worth of rock guitar solo
>looping, and starts overdubbing chord progressions with it. I'm thinking
>"you can't do that, it's impossible to get that in time. I'm never gonna be
>able to teach this guy to do this right."  He stops playing the rhythm
>part, and I realize that its perfectly in time with the solo, and that he
>finished playing exactly at the end of a pretty long loop. Not only that,
>the solo he played in the first place was in time and was an even number of
>beats in length so that it fit perfectly into an ordinary sort of rock
>progression. My respect for his musicianship went up a lot right then,
>because I sure as hell couldn't do that.

Beautyfull story, too. Is there a place on the site for it?
We might create another compilation of mails, about aplications of loop in
Rock. Any more experiences?
Has anyone seen Jurney doing it live?

Matthias

------------------------------
Date: Wed, 20 Nov 1996 18:51:57 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: Samplers as loopers?
Message-Id: <v01520d01aeb8f1cbd1c8@[200.254.32.110]>
Content-Type: text/plain; charset="us-ascii"

>Matthias Grob wrote:
>>
>> Then I imagine it totaly shocking to be able to polyphonically detune
>> immediately whatever happens on stage!

Maybe this is not clearly put. It would be *marvelous*, but it should be as
instantly as a dedicated looper does.
Do samplers replay immediately after recording?

Sean exlained carefully:
>Although my sampler has a whole lot of memory (16MB), it is incapable of
>modulating pitch without a sample shortening or lengthening over time.

>A sample conversion function that will supposedly maintain a fixed time for
>a sample while allowing for pitch alteration, it is time-consuming and
>>absolutely not a real-time stunt.

This is a serious technical problem. The real time pitch shifting is not
exactly real time and screws up harmonies. At least my PCM80 does, and I do
not have the curage to claim that anyone should do better.

For simple waveforms it comes out reasonable. So we might ask the builders
of samplers to have a optimized non real time conversion and another which
is real time with some limitations in sound.

Another problem of samplers is that they do either record or play, right?
So its not possible to creat overdubbs. Do you record a second voice
without hearing the first and then press 2 keys to have both voices
sounding together or is this impossible?

Sean again:
>Two sliders were on the face of the unit and were used to control sample
>start- and
>end-points.  Both sliders were identical and were situated one above the
>other.
...
>I may have just explained something that is entirely elementary to
>everyone on this list in way too many words...

Not for me (I never had a keyboard!), thank you for the perfect explanation!
You said that your new sampler does not have this feature, so is it rather
a especial one?
Or is there a different (more "modern") solution instead?

Should such a feature be included in a dedicated looper? Probably... it
should not be that difficult...maybe the control of it could be by taping
instead of potentiometer controlers? It means that you save the entire loop
as recorded and then have a second tap facility to select parts of that
loop, without destroying it, just scaning over different parts of it...
Is this just fun or a serious tool to create music?
I actually one of my first customer way back in switzerland (a genious bass
player called Wito Wietn) wanted such a feature to analyze music. A tool
for studying, writing scores for ready music. You copy the whole song to
the looper, play along with it, loop a difficult part, then go on, loop the
next problem part and so on.
Could you do that with a sampler?
Or could it be done with those DJ machines?

Well, my brain is trained and focussed for development. Hope you do not
mind asking all that stuff...
The aim would be to develop what you need, after all... once the comercial
way will be free again...

Matthias

------------------------------
Date: Wed, 20 Nov 1996 18:52:20 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: CD looper (was: Digital Guitar Digest # 102, what a subject! :-)
Message-Id: <v01520d04aeb90327e5da@[200.254.32.110]>
Content-Type: text/plain; charset="us-ascii"

>From: NedR@shersoft.com
>Date: Fri, 25 Oct 1996 9:48:44 -0500
>Subject: RE: Digital Guitar Digest # 102


This is amazing! Didnt I just finish a mail about such features for studying?
I will have to write to Wito Wietn...
No Mac version, huh? :-(   Anyone will try it on Windos?
Matthias

>I have just formed a new company, RePlay Technologies, Inc. Our first
>product is CD Looper which allows you to create any number of loops for
>any music CD using your windows computer. These loops can be any length.
>Additionally, any loop can be slowed down 2, 3 or 4 times without changing
>pitch.
>
>This is a list of all the features:
>
>*       Slow down any section of a song 2, 3, or 4 times without changing the
>pitch. * Slowed loops can be sped up in 10 percent increments. * Length of
>slowed loops is limited only by disk space. * Each loop point can be set
>to within 1/100th of a second accuracy. * Unlimited number of loops per
>track. * Loops can be any length. * Loops can be played continously or a
>set number of times. * Loops can be automatically paused between each
>iteration. * Loops can be grouped together making it easy to learn
>complete sections of a song. * Each loop and track can have a descriptive
>narative indicating, for example, key or tempo. * Extremely intuitive
>interface, promoting hands-free operation. * Teachers can export a track's
>or cd's loop points making any song easy for their students to learn. *
>Tracks and cd's can be set for continuous play. * Improves your musical
>ear as you listen and practice loops. * Supports customized play lists. *
>16 and 32-bit versions.
>
>Our web site is located at http://www.replayinc.com. People visiting the
>site can download a fully working demo of the product and are eligible to
>receive special, internet pricing.

>Ned Robinson
>RePlay Technologies, Inc.

------------------------------
Date: Wed, 20 Nov 1996 18:52:29 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Drummers and Syncing
Message-Id: <v01520d05aeb904fe5487@[200.254.32.110]>
Content-Type: text/plain; charset="us-ascii"

Watch out: this is a very long post, but full of different interesting stuff!

Greg West gave his debut:
...
>In reference to the asynchronous looping, I'd love to find a drummer who can
>keep track of beats and time signatures without help (isn't that what a
>drummer's supposed to do--keep time?)  But I've not found one yet who can
>play freely and creatively against a separate time signature or polyrhythmic
>textures.

I hate to disagree to the first paragraph of your first post :-).
Although I use loops almost constantely and got used to follow the constant
speed, I do not think this is the only, natural way of playing.
The drummer is supposed to *define* time, but for my taste, it may *vary*
with the developpment of the music.
Maybe you find a drummer who can play creatively if you let him follow his
timing intuition?
Are you sure you will not like it, or is it just a bit more difficult to follow?
Or is it the DJs who will not like it?

Working in studios here I was amazed to see that brasilians do not use
click tracks. And I also looked into shocked american faces when they came
here to record THEIR music with a BAHIAN touch, but could not imagine that
this touch could be *connected to rhythmic freedom*.
Its amazing how "inacurate" a nice grove can be. Its what they call
"swinge" or "xinga" here.

I am not a drummer and may be completely wrong. I gave up to play with
drummers ten years ago, because they all sounded like machines. And it
clearly came up with the machines. The drumming of the 70ies was looser,
more creative, I think. The snare was not constant, but full of rolls and
uneven accents. Then they suddenly had to compete with the machines...

Having said all that, I will need to review looping technology, though...;-)

>I recorded my album "Orion Ascending" with Pat Mundy, who played Indian tabla
>on two cuts.  His ability to function in dense and intricate rhythmic
>textures was phenomenal, but when we experimented early on with loops, he
>just couldn't get used to it.  He felt too "exposed" by being out there with
>no one else holding down the beat with him.  My concept was that the drums
>create their own space while the loop makes a "context" for the events that
>occur within its "domain."  It seems that drummers feel "naked" without a
>bass player or someone else keeping time with them.  (I'd think that would be
>liberating!)  On the CD, Pat ended up recording two acoustic (non-looped)
>pieces with me.

Very interesting point... "naked"... for me, the looper is like a "dress"
when I am alone on stage. ;-)

I observed that a acurate loud and clear rhythmic sound coming from the
loop does not at all what a playing person radiates. There is something
like a "spiritual pulsation" coming from the claves player for example. In
case of the conducter, this is more explicit even. And there is no way I
can build this into a looper... :-)

So the case of your tabla payer sound like he wants to radiate and needs
someone to reflect it. Could that be?

>...I enjoy the way the loops interact when they're not synced.
>... Our brains
>naturally seek patterns out of chaos... and left with only chaos to process,
>the brain will create its own patterns.  In this manner, the audience becomes
>a participant in the creative process and no two listeners will come to this
>resolution in the same time or even the same way.  It's like quantum music!

I often use the harmonic chaos that arises if I play a lot of melodies into
the loop, or the rhythmic chaos if I chop up a running loop. And I fully
agree that its completely fascinating how we hear a pattern we like in any
(?) sound.
I also agree, that the public participates in this process, even "sends"
its interpretation to the musician so he might end up playing acording to
the publics taste (not so bad, after all).
Now, I always try to elaborate a bit the "thing" I hear out of the chaos.
Isnt that our work? In case of the harmonies, I let the loop fade a bit and
put some notes that fortify the "thing" I heard in it.
For the "syncless chaos", that would mean: Once that brilliant pattern
shines out of your chaos, would it not be nice to sync on the spot and work
out what has been heard?

This might turn into a very fundamental question:
How much of our creations should be a direct channeling of what we "hear"
from beyond and how much an interpretation, an adaption for beeings with
less sensibility (with full respect. a less developped ability to "listen")
?
I will think about it.

>... My whole philosophy is that music exists around
>us like white light. My job, in performance, is to act as a prism that
>refracts the music that exists in that time and place into patterns, colors,
>and shapes that can be used to make "audible light."

Oh, you did give an answer before I asked! Are we synced?
(that "chaos" happens if you answer a mail while reading it :-( )

---
>Finally, someone discussed earlier how to get your audience more involved.
> Here's an idea I use.  Before launching into looped works, I briefly explain
>and demonstrate how the various pieces of technology work and show how a loop
>is constructed.  Typically, I take a short children's round, like "Row, Row,
>Row Your Boat" or "Frere Jacques" and loop the melody and add the rounds.
> People can relate to that easily.  Then I work from that loop and change the
>tonality to something modal, and begin to warp and twist it.  Audiences love
>this!
>The other tip I had, is to explain briefly (accounting for non-musicians
>present) that the octave consists of 12 tones, and how they are named.  I
>then select four people at random from the audience to call out a note name,
>which I then enter into a loop of varying length.  The audience becomes very
>involved in this, and members with musical backgrounds often try to
>"sabotage" the process by adding intentionally dissonant tones.  The last
>time I tried this the four notes I was given perfectly outlined a wholetone
>scale.  This made a particularly monstrous loop which was delightful since
>the concert took place under a full moon, just a few days before Hallowe'en!

Great! We should add this to the "Performance Theory" file on the page!

>Enough ramblings!  This list is cool.  I enjoy your comments and will answer
>e-mail as often as time permits.

This is not rambling, man, this is sheer beauty and astral intelligence!
Be carefull, it can turn into a full time job :-)

Thanks a lot, you moved me!
Matthias

PS I feel like spliting this mail into 2 or 3 and call the others something
like "Performance Theory again" and "transforming light into sound", but as
it grew so nicely... up to you!

Lets take our time to discuss such serious stuff.
There are "concrete" posts that might be more on topic.
These philosophic ones I consider as our preparation for the next millenium
and they can take a few years for everyone to sync together.

Anyone thinks that this is "New Age" religion or something and thus not for
this list?

------------------------------
Date: Wed, 20 Nov 1996 16:06:09 -0500
From: jspeer@haverford.edu
To: Loopers-Delight@annihilist.com
Subject: Something to try, if you dare
Message-Id: <9611202104.AA05922@acc>

Hi people,

Let me start off by saying that I'm no looper myself, just a big fan at
this point.  Here's something to try that some of you may find interesting:

Take a CD that you don't like at all, and wouldn't mind destroying.  Get a
thick black permanant marker.  On the PLAYING side of the CD, draw 3 lines,
equally spaced, from the center hole right out to the edge.  Make sure
they're very heavy lines by going over them 10 times or so.  Now pop it in
the CD player and hit play!  Endless listening fun.  Literally.  You may
want to help it along with the ff button if it gets a bit too stuck.  You
may also want to have a stiff drink while you listen.  I find it sounds
best if the CD is of really bad heavy metal.

Disclaimer:  I have no idea what this does to your equipment.  But I've
never had anything go wrong with my stuff doing this.

------------------------------
Date: Wed, 20 Nov 1996 16:33:23 -0800
From: sean o'donnell <sodonne@vm.temple.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: Samplers as loopers?
Message-ID: <3293A353.E0B@vm.temple.edu>
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: 8bit

Matthias:

>Matthias Grob wrote:

> Do samplers replay immediately after recording?

Not mine, and I believe not most.  That's why I recently bought a JamMan.

> Sean exlained carefully:
> >Although my sampler has a whole lot of memory (16MB), it is incapable of
> >modulating pitch without a sample shortening or lengthening over time.
> 
> >A sample conversion function that will supposedly maintain a fixed time for
> >a sample while allowing for pitch alteration, it is time-consuming and
> >>absolutely not a real-time stunt.
> 
> This is a serious technical problem. The real time pitch shifting is not
> exactly real time and screws up harmonies. At least my PCM80 does, and I do
> not have the curage to claim that anyone should do better.
> 
> For simple waveforms it comes out reasonable. So we might ask the builders
> of samplers to have a optimized non real time conversion and another which
> is real time with some limitations in sound.

Good idea!

> Another problem of samplers is that they do either record or play, right?
> So its not possible to creat overdubbs. Do you record a second voice
> without hearing the first and then press 2 keys to have both voices
> sounding together or is this impossible?

Once again, my old sampler (AKAI S612) had an overdub function which allowed you to 
press a button and simultaneously hear/record with the existing sample.  My new sampler 
(ASR-10) works _exactly_ as you've explained.  Record samples and play them together.  
You can do other nifty tricks like splice sections of samples together, invert samples, 
merge samples, even direct the machine to play individual samples (those constituting a 
single waveform) in specific or random orders.

> Sean again:
> >Two sliders were on the face of the unit and were used to control sample
> >start- and
> >end-points.  Both sliders were identical and were situated one above the
> >other.
> ...
> >I may have just explained something that is entirely elementary to
> >everyone on this list in way too many words...
> 
> Not for me (I never had a keyboard!), thank you for the perfect explanation!
> You said that your new sampler does not have this feature, so is it rather
> a especial one?
> Or is there a different (more "modern") solution instead?

Actually, the new sampler (ASR10) seeks to automate a number of functions which the 
manufacturer designed under the assumption that musicians would use it to make standard 
bourgeois music a la any Late Night Talk Show Band.  In other words it is not as 
"open-ended" as I would like it to be.  

> Should such a feature be included in a dedicated looper? Probably... it
> should not be that difficult...maybe the control of it could be by taping
> instead of potentiometer controlers? It means that you save the entire loop
> as recorded and then have a second tap facility to select parts of that
> loop, without destroying it, just scaning over different parts of it...
> Is this just fun or a serious tool to create music?
> I actually one of my first customer way back in switzerland (a genious bass
> player called Wito Wietn) wanted such a feature to analyze music. A tool
> for studying, writing scores for ready music. You copy the whole song to
> the looper, play along with it, loop a difficult part, then go on, loop the
> next problem part and so on.
> Could you do that with a sampler?

In a sense, yes.  Using the function MODULATE LOOP-POSITION, you could loop sections of 
a piece (e.g., one-half minute starting at zero ending at 100) as many times as you like 
and then move on to another section with overlap of the first (e.g., one-half minute 
starting at 25 and ending at 125).  This can be done in real time using a wheel to 
control the position of the loop.  The only thing is that the start- and end-points of 
the modulated loop would remain fixed.  This is why I want to use some type of slider 
that will augment or diminish the loop unit.  I'm actually trying to devise a way to do 
this on my keyboard.  I will keep you posted.

> Well, my brain is trained and focussed for development. Hope you do not
> mind asking all that stuff...

My pleasure

> The aim would be to develop what you need, after all... once the comercial
> way will be free again...

Hmmm...nothing commercial is free :>

> Matthias

------------------------------
Date: Wed, 20 Nov 1996 15:14:05 -0800
From: Kim Flint <kflint@chromatic.com>
To: Loopers-Delight@annihilist.com
Cc: Loopers-Delight@annihilist.com
Subject: Re: Something to try, if you dare
Message-Id: <2.2.32.19961120231405.00964d30@xenon.chromatic.com>
Content-Type: text/plain; charset="us-ascii"

At 04:06 PM 11/20/96 -0500, jspeer@haverford.edu wrote:
>Take a CD that you don't like at all, and wouldn't mind destroying.  Get a
>thick black permanant marker.  On the PLAYING side of the CD, draw 3 lines,
>equally spaced, from the center hole right out to the edge.  Make sure
>they're very heavy lines by going over them 10 times or so.  Now pop it in
>the CD player and hit play!  Endless listening fun.  Literally.  You may
>want to help it along with the ff button if it gets a bit too stuck.  You
>may also want to have a stiff drink while you listen.  I find it sounds
>best if the CD is of really bad heavy metal.

Wow, I used to do this! A friend of mine who did an experimental radio show
on a college station turned me on to the idea. I used white-out. I painted
various stipes on the disc and scratched parts of them off. (if you have too
much on there it won't play at all) Scratching the white out in different
places changes the effects. The neat thing is that its always different.
Each time you hit the ff button you end up in some new loop that you never
hit before. 

Another idea my friend suggested was microwaving cd's. Supposedly the
plastic on the disc develops a network of spider-web cracks. I never got
around to trying this, but I'm intrigued by the idea again.

I also used bad heavy metal, mostly because I seemed to have several such
cd's on my shelf. The cd I used was a band called "Meliah Rage" if anyone's
interested. The white out turned lousy Metallica ripoffs into some of the
coolest industrial loops I've ever heard. In fact I was doing this 6-7 years
ago, predating Rundgren-esque interactive cd's by quite a bit! I heartily
encourage everyone to take a look at your cd collection and "fix" some of
those discs that you never listen to.

>Disclaimer:  I have no idea what this does to your equipment.  But I've
>never had anything go wrong with my stuff doing this.
>

It never hurt my player, but this is definitely in the user-be-ware, void
the warranty category.

kim

_______________________________________________________
Kim Flint                       408-752-9284
OEM Engineering                 kflint@chromatic.com
Chromatic Research

------------------------------
Date: Wed, 20 Nov 96 16:23:29 MST
From: "Bret Moreland" <Bret_Moreland@maxtor.com>
To: <Loopers-Delight@annihilist.com>
Subject: re:Re: Mermen recommendations?
Message-ID: <vines.PP59+l9tYmA@Longmont64.Maxtor.COM>
Content-type: text/plain;
               charset=US-ASCII

I do not have any Mermen CDs but I do have a live DAT tape I recorded of 
them (with their permission) at the Boulder Fox this year.  If you would 
like a DAT or Cassette copy of this performance Email me personally @ 
bret_moreland@maxtor.com.  I would be willing to copy the music to a blank 
tape you provide.  There is some usage of Echoplex DP in the performance, 
but I would not say it is utilized in most of the songs.

bret   

------------------------------
Date: Wed, 20 Nov 1996 18:56:58 -0800
From: studio seventeen productions <ambient@adnc.com>
To: Loopers-Delight@annihilist.com
Subject: unsynced unmidied loops
Message-Id: <199611210256.SAA11379@barley.adnc.com>
Content-Type: text/plain; charset="us-ascii"

Eric Cook hit upon some really IMPORTANT points.

I spent 6 years in a band that consisted of two loopers, and at no time did
we ever use midi, clocks, click tracks, or any kind of sync whatsoever.
and...we created some amazing totally together music....

(This band is still in existence, although we now collaborate long distance:
bindlestiff, an ambient electronic band).

And Eric's observation that looping unsynced can cause "truly bizarre
counterrhythms"  strange "accidental" harmonies really rings true to me
personally.  please, LET something EXCITING and UNEXPECTED happen!  forget
PLANNING your loops (unless it's appropriate).  let MUSIC occur.......

Some of my best loops have been complete, unplanned "accidents" (for more on
"accidents" read anything Eno has to say on the subject).  Some of
bindlestiff's finest moments were either "accidental" or "turning a seeming
disadvantage to an advantage"...

I AGREE 100% that these bizarre events, unplanned accidents, etc. are in
some ways the most exciting thing that can happen to a looper.

One of my very favourite loops is the first loop on "Sand Island" created
while I was repairing my pedalboard, so I could have a signal to test
various bad cables, etc.   The loop became so compelling that after I made
the repairs, I made several recordings of it...one of which became the
lead-off track to the album.  ENTIRELY unplanned and
accidental...rhythmically impossible...musically untenable-but beautiful.

ERIC - this IS (undoubtedly) a VERY GOOD THING.

I spent so much time trying to be a Todd Rundgren, making the perfect 3
minute song, overdubbed to perfection. This is the WRONG route!

All you get is sterility, songs worked to death.  Even the Neil Schon
stories smack of this obsession.  No need.

Clear the mind, open the mind...allow MUSIC to appear.  Nothing too strange,
nothing is impossible.  The best loops are those that just come...if you
WORK at it...it probably will not be so good.

Matthias- you at least know what I am speaking of!

Comments please!


P.S.  I'd kill for a drummer to loop with!  Just a drummer, with an
understanding of what loops/accidents/bizarre rhythms are about and me with
my loops.........

any takers?  in southern calif???

i guess i'm still a solo artist...



dave (lurking for ages now) at STUDIO SEVENTEEN
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*               *  *  *  *  *     I'll be downstairs if you need me.  I'll still
*                  *      be downstairs if you don't need me.   
*                          *         (Consequences/Godley & Creme)
*                        *
*                      *

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

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------------------------------
Date: Wed, 20 Nov 1996 22:30:28 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: Something to try, if you dare
Message-Id: <199611210630.WAA19170@pure.PureAtria.COM>

>Another idea my friend suggested was microwaving cd's. Supposedly the
>plastic on the disc develops a network of spider-web cracks. I never got
>around to trying this, but I'm intrigued by the idea again.

It's darn cool (and arcs like hell in the microwave).  We used to do
this with obsolete CD-ROMs at work.  They make very nice xmas tree
decorations.  ;-)

------------------------------
Date: 21 Nov 96 01:52:01 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: <Loopers-Delight@annihilist.com>
Subject: Re: CD looper (was: Digital Guitar Diges
Message-ID: <961121065200_100041.247_JHB35-1@CompuServe.COM>

> No Mac version, huh? :-(   Anyone will try it on Windos?
 
Sure. Sounds too good to be true. I'm just waiting for my new PC which I'll
get in a week or two. Too bad that under the current Windows NT 4.0 version
(which will be the operating system of my new PC) this CD thingie doesn't
work correctly, due to a NT bug.
 
-Michael
 

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