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

Loopers-Delight-d Digest                                Volume 96 : Issue 23

Today's Topics:
  unsynced unmidied loops               [ Michael Peters <100041.247@CompuSer ]
  Re: Something to try, if you dare     [ Michael Peters <100041.247@CompuSer ]
  Re: Something to try, if you dare     [ Michael Peters <100041.247@CompuSer ]
  Re: CD looper (was: Digital Guitar D  [ Ray Peck <rpeck@PureAtria.COM> ]
  Re: Something to try, if you dare     [ Eric Cook <ecook@conch.aa.msen.com> ]
  Vortex to Brasil                      [ matthias@bahianet.com.br (Matthias  ]
  Drumming with loops -- some methods   [ Eric Cook <ecook@conch.aa.msen.com> ]
  Drumming with loops -- some methods   [ Michael Peters <100041.247@CompuSer ]
  Re: Caryn Lin/Bon/Torn                [ Jon Durant <74074.1316@CompuServe.C ]
  looping text                          [ david kirkdorffer <david-kirkdorffe ]
  The Mermen                            [ david kirkdorffer <david-kirkdorffe ]
  Bye Bye to you all                    [ david kirkdorffer <david-kirkdorffe ]
  Re: Drummers and Syncing              [ RA336@aol.com ]
  Re: Something to try, if you dare     [ The Man Himself <altruist@shoko.CAL ]
  Re: Something to try, if you dare     [ Kim Flint <kflint@chromatic.com> ]
  Re: Something to try, if you dare     [ rpeck@PureAtria.COM (Ray Peck) ]

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------------------------------
Date: 21 Nov 96 02:26:45 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: <Loopers-Delight@annihilist.com>
Subject: unsynced unmidied loops
Message-ID: <961121072644_100041.247_JHB74-3@CompuServe.COM>

> I AGREE 100% that these bizarre events, unplanned accidents, etc. are
> in some ways the most exciting thing that can happen to a looper.
> 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.
> Comments please!
 
Completely agreed, but this really depends on the kind of music you want to
do. I'm deeply in love with crazy experimental music and free improvisation
but others aren't - I think there are several people on this list who work
in, say, jazz/rock/folk circumstances and for them it might be a completely
different thing.
 
Would anyone volunteer for selecting parts of all those interesting new
messages for the 'performance theory' and other message collections? I'd
htmlize them but I don't want to do the selection. (I wonder how long this
will stay a manageable job, with the list apparently steadily growing.)
 
-Michael
 

------------------------------
Date: 21 Nov 96 02:26:41 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Something to try, if you dare
Message-ID: <961121072640_100041.247_JHB74-2@CompuServe.COM>

> 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.
 
I guess to turn this into a more than a gimmick one could use that CD
looping software which was announced on Digital Guitar. Haven't tried it
myself but it sounds like you can easily set loop points of any length
anywhere on the CD, and even slow down the music without changing the pitch.
I'm really looking forward to hearing that myself.
 
-Michael
 

------------------------------
Date: 21 Nov 96 02:26:48 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Something to try, if you dare
Message-ID: <961121072647_100041.247_JHB74-4@CompuServe.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.
 
WIRED magazine has a CD review page every month which also includes a
'microwave of the month' (with photo), being the worst new CD they could
find this month. I wonder if they ever tried to play it after frying.
 
-Michael
 

------------------------------
Date: Wed, 20 Nov 1996 23:31:14 -0800 (PST)
From: Ray Peck <rpeck@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: CD looper (was: Digital Guitar Diges
Message-Id: <199611210731.XAA22484@pure.PureAtria.COM>

Michael Peters writes:
>> 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.

Why don't you make your machine dual-boot?  Mine is NT4/Win95 dual
boot (not that I actually *like* using the PC, mind you).

------------------------------
Date: Thu, 21 Nov 1996 02:44:45 -0500 (EST)
From: Eric Cook <ecook@conch.aa.msen.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Something to try, if you dare
Message-ID: <Pine.BSI.3.92.961121023940.11710A-100000@conch.aa.msen.com>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On 21 Nov 1996, Michael Peters wrote:

> >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.
>
> WIRED magazine has a CD review page every month which also includes a
> 'microwave of the month' (with photo), being the worst new CD they could
> find this month. I wonder if they ever tried to play it after frying.

I've never been able to get a CD to play post-frying.  Shame, really, as
they _look_ like they should sound really cool.

Anyone tried the low-tech version of all this cd destruction?  You can
force a turntable to "loop" as well, by placing somewhat heavy smallish
objects on the record (quarters, taped-down bottle caps, that sort of
thing).  This has the added advantage of a the loop varying itself
slightly over time as well, as the object will either get bumped around by
the stylus, or the stylus will move slightly further/closer away on the
record.  Again, pick a record (and perhaps even a turntable) that you
don't care about to try this with.

--Eric Cook                 ecook@mail.msen.com
  Gravitar-Guy              http://www.msen.com/~ecook/gravitar.html

------------------------------
Date: Thu, 21 Nov 1996 05:55:44 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Vortex to Brasil
Message-Id: <v01520d03aeb9b6845524@[200.254.32.123]>
Content-Type: text/plain; charset="us-ascii"

Dear All (that sounds realy old fashioned, doesn't it?)

Would someone mind to buy such a cheap Vortex for me and send it down here?

I can pay out of a credit card or a Bank of America check, or some other way...

Or you can bring it right down here, check out the white beaches and hot
rhythms and smiling faces and african food...
I offer staying and looping...

Thanks a lot
Matthias

------------------------------
Date: Thu, 21 Nov 1996 04:45:13 -0500 (EST)
From: Eric Cook <ecook@conch.aa.msen.com>
To: Loopers-Delight@annihilist.com
cc: Mason Jones <mason@netcom.com>
Subject: Drumming with loops -- some methods (longish)
Message-ID: <Pine.BSI.3.92.961121043125.24872B-100000@conch.aa.msen.com>
Content-Type: TEXT/PLAIN; charset=US-ASCII

Ok, this is an overview of some of the techniques/methods that I use as a
drummer to play with looping material. (And for the record, I use
some of these same kind of techniques in non-looping contexts as well,
and they also work there.)  Note, too, that these are
things that have worked for me, working in improv and improv/rock
settings -- YMMV in other contexts, It's been educational for me
to sit down and try to spell out some of these things; hopefully
they may be of some use for those of you that have had problems
with drummers/percussionists being uncertain of how to approach
playing with your loops.

I'm uncertain of how well some of this translates into English --
when I'm doing it, I'm thinking in terms of the sound, not in terms
of "Ok, so let's see, what next..hmm.."  They make sense to me, but
may be gibberish to someone else.  If so, let me know, and I'll try
to clear up those points (or provide audio examples).
Also, I'd love to hear other suggestions on things to try, so shout
'em out!

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

Playing Drums/Percussion with loops (in-sync and out-sync):
***********************************************************

Basically, you can break it down into three general concepts;
You can either play: 1)With the loop, 2)Across the loop, or 3)Against
the loop.

1)With the loop:

  a)If the loop is the same rhythm as the theme/riff (say the guitarist
    locks in a loop of the riff, and then moves into a solo), this is
    a fairly trivial case -- you can keep playing to the theme as you
    have been. varying it as much or as little as you normally would.
  b)If the loop is different from what you had been playing, you have
    several options.
    --The first is to just keep playing what you have been playing.
      [see "2)Playing across the loop"]
    --Next is to just listen carefully, and as you hear the loop hit
      a repeat point (or a "functional downbeat"), truncate or extend
      the rhythm that you have been playing to match with the loop.
      This is somewhat easier said than done, but is not really all
      difficult.  Just listen to what is going on around you very
      carefully, and for truncation, be ready to start the beat over
      when the repeat point hits (be ready to do it at the drop of a
      hat, basically).
         You may not hit the loop the first time around, or even the
      2nd or 3rd.  No big deal -- just keep listening, and if you
      are making "mistakes" (in the sense that you are way off-time
      with the loop), make them very purposively and assertively.
      If the rhythm you are playing is saying to the audience and
      musicians around you "Yeah, I'm off-beat, so what?", it will
      blend much more smoothly, and no one will question it.
         For extending the rhythm to match a loop that is longer than
      what you had been playing, you can either do it all at once or
      transitionally.  All at once (in the sense that you are just going
      to jump to new, more or less different rhythm that fits the loop
      is harder -- you need to be really on the ball, and have a strong
      intuitive feel of where the loop is going to repeat.
         Transitionally extending the rhythm is easier, though it can
      be a little different from the standard "keep the beat, keep the
      beat" concepts of drumming that you are used to.  The two
      ways I approach this are to a)slowly increment the length of
      rhythm, playing the same basic thing, but adding another beat or
      two onto the end of it at each iteration of the measure (which,
      you'll notice, is slowly getting longer each time).  Again,
      listen carefully to the loop to see when you are in sync.
         Another related method is what I've thought of as "stretching"
      part of the rhythm out.  That is, you play the rhythm that you
      have been playing, and "stretch" the end of it out until the
      point where you hear the loop repeat.  The most straightforward
      ways I've found of doing this have been to do a fairly
      constant/simple snare fill, or cymbal swell.  Once again, listen
      carefully, and be ready to jump the instant you hear the loop
      point.  You can use this either as a new component of the rhythm,
      repeating it during each further iteration, or you can use it
      as a "resting spot", to stop and think about what you are going
      to do with this loop on further variations.

---
At this point, I can hear some of your drummer friends saying "Increment
the beat?  But I don't know how to play in 7/8 (or whatever)!".  Easy --
you don't necessarily need to know _how_ to do it to actually be _able_
to do it.  Don't count the beats -- if you aren't comfortable with the
time signature you wind up in, you are just making it more difficult
for yourself than it needs to be.  After all, who cares what signature
you are playing in? What counts is how it sounds -- "Listen carefully"
is the single biggest tip I can give you in trying to pull all this off,
right in front of "act very quickly".  I find that "singing" the drum
beat to myself in my head helps me do all this (and other things) that
I am completely unable to do if I'm actually trying to "left-brain" my
way through it.  Worry about how it _sounds_, not what notes are being
played.  If it sounds good, the notes will take care of themselves.

Also, despite all the "rules" of drumming, metronomic time is not always
appropriate -- don't be afraid to speed up or slow down to match the
loop if that's what sounds good.

Ok, onward...
---

2)Playing across loop

  a)if the loop is an "out-sync" one, another option is to play "across"
    it; that is, to keep doing what you are doing, and disregard the
    fact that the loop is now doing something different.  In essence,
    you are pretending that you the theme that you were playing with
    is still present.  This may sound strange, but it works surprisingly
    well, both conceptually and pragmatically.  Conceptually, you are
    providing a sense of continuity with a (potentially) disasociated
    loop and the rest of the piece prior to that disassociation.
    Pragmatically, this can be sometimes be easier than varying the beat
    to fit the loop, and it can make for some nice polyrhythmic effects.
    Also, you are providing a strong foundation for your "looper" to
    jump back onto the beat when they see fit (for instance, after a
    loop-heavy, "textural" solo of the guitar).
       This is also a somewhat problematic technique for some drummers,
    in that they are _all alone_ in keeping the beat.  Too bad; learn
    how to do it -- they _are_ the drummer after all; they shouldn't
    need to have someone else there "hand holding" their way through
    the beat.  Other drummers will have no problem whatsoever in doing
    this; again, "singing" the theme/riff to myself always helps me in
    not falling too far off.  So does just "tuning out" the loop, if
    needed (though not completely; you need to find the inbetween point
    of "listening while not listening".)
       This general technique is also useful to provide continuity
    between related loops that are cross-fading.  I do something
    like this on "If's it wrong to be right.." and "Why is it so hard?"
    on the 2nd Gravitar CD.

  b)Related to playing across the loop, as well as to the stretching
    technique mentioned above, is the technique of "fragmenting" the
    rhythm.  That is, taking a fragment of the rhythm, and repeating
    that.  For me, this generally boils down to turning a more complex
    pattern (say of 8 or 16 beats), and grabbing a hold of 2 or 3 beats
    of it, and repeating them.  In some ways, it can be thought of as
    an extended "fill", though it quickly sounds less like a fill than
    a seperate rhythm.  In some ways, it is a live way of "echoing"
    the looping that is going on around you -- it can sound very much
    like a drum loop that is suddenly caught in a lock-step.  Also, you
    use this as another transitional technique (as mentioned in the
    segment on stretching above), either to go into a new rhythm, or
    while waiting to jump back into the beat when your "looper" is ready.
    (The latter is a fairly easy way to build some dramatic tension, I've
     found, providing the looping section remains fairly short in overall
     duration.)

3)Last, playing against the loop:
  a)In some ways, this points out the arbitrary nature of the some
    of the distinctions that I've made here -- after all, when you
    are playing "across" the loop, as outlined above, aren't you playing
    "against" it in some ways?  The difference, I guess, is that playing
    against the loop would have no direct rhythmic connection with either
    the musical events in the loop, or the rhythm being playing prior to
    the loop.  In essense, this is the time where you say -- "Ok, the
    _loop_ is keeping the beat (or a beat, at least); I'm free to do
    whatever I choose."  Good time for a solo, or to slip into a more
    "free" oriented mode of drumming.

  b)Another potential approach (again, not all that different necessarily
    from some of the prior techniques), is to establish a rhythm that
    allow you to shift the accents in it around fairly freely, without
    a direct one-to-one relationship with the musical events in the loop.
       I also use this one on Gravitar's 2nd CD, on the song "Automaton".
    The basic guitar theme is a simple triplet-based group of 4 or so
    notes, repeating in a self-similar, but fairly constantly shifting pattern.
    When recording it, I knew that the guitar player would be going into
    a heavy textural section for most of the middle of the song, and would
    leave some part of the the triplet pattern looping in the background.
    Rather than worrying about what configuration of this pattern he would
    come up with this time in the loop, I instead made the whole rhythm of
    the drums a somewhat simple tripet-based pattern, allowing me to
    fairly freely shift accents back and forth at will -- this _suggested_
    the triplet pattern of the guitar riff, but didn't tie me directly
    to it, allowing me to play against whatever loop pattern would come
    up on this particular occasion.

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

And that's the overview.  As stated in section 3, these distinctions are
fairly arbitrary, and more for the sake of clarity in the explanation
than anything.  In practice, any combination of techniques could be used,
in the same piece, or same loop.  Any of the connective devices could
be used by themselves entirely (to create a new rhythm), or to connect
any given technique to any other given technique.  None of this is
absolute either -- what it all boils down to is listening, reacting, and
choosing whatever is appropriate for the song and situation in question.
A lot of it is pretty self-evident, really, once you do it at least once.
Also note that when I do these things in the context of Gravitar, we don't
have a bass player; this frees me up considerably as a drummer, both in
terms of my freedom to react quickly without worrying so much about
bass player following what I'm doing, as well as, in essence, making
the drums the entirety of the "rhythm section".  I'm not necessarily
advocating kicking the bass player out...but it's helped me in some ways.

Hope this is of interest/use to somebody -- I'd love to hear any comments,
questions, etc.

--Eric Cook                 ecook@mail.msen.com
  Gravitar-Guy              http://www.msen.com/~ecook/gravitar.html

------------------------------
Date: 21 Nov 96 06:10:57 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: <Loopers-Delight@annihilist.com>
Subject: Drumming with loops -- some methods (lon
Message-ID: <961121111056_100041.247_JHB74-1@CompuServe.COM>

thanks Eric for the drumming with loops overview - this is definitely
something we'd like to have in the "Tips and Tricks" section of the Loop
website. (I'll do the porting to Html.)
 
"drumming against loops" reminds me of some of my all-time favorite CDs: the
early CDs by Jon Hassell (such as Aka-Darbari-Java). Wonderful sample loops
set against slowed down percussion tracks, and they are often rhythmically
completely independent, but it sounds just great to me.
 
-Michael

------------------------------
Date: 21 Nov 96 07:29:03 EST
From: Jon Durant <74074.1316@CompuServe.COM>
To: "INTERNET:Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
Subject: Re: Caryn Lin/Bon/Torn
Message-ID: <961121122902_74074.1316_GHQ56-1@CompuServe.COM>

Hey Gang, and in particular Philadelphia area loopists! There will be a record
release party for the new Caryn Lin CD, "Tolerance for Ambiguity" (Alchemy
Records 1010) on December 9 at the Painted Bride Art Center in Philadelphia. 

Caryn is an electric violinsts/looper, her new album was produced by David Torn
(and he plays all over it). Bon Lozaga will be playing in her band at the
release party. Very interesting stuff, and well worth checking out.

For those not in the area, you'll be able to get more info on the Alchemy page
no later than December 6, and hopefully a bit sooner. Also, she'll be doing a
series of in-store appearances at Borders stores in Claifornia in January. Dates
will be coming soon.

Later,
Jon Durant

------------------------------
Date: Thu, 21 Nov 1996 09:44:48 -0500
From: david kirkdorffer <david-kirkdorffer@cca-int.com>
To: Loopers-Delight@annihilist.com
Subject: looping text
Message-ID: <32946AE0.6F5@cca-int.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hello loopists!

The other night jamming with The Loop Groop here in beantown, I found I
was "receiving" a radio station through my borrowed "rig" -- an 8-sec
digitec delay and a fuzz-box.

I had a great time EMPHASIZING the radio signal and then twiddling knobs
on the digitec-delay.  The radio just became a signal to work.

Specifically successful tricks included:

1. gradually slowing the text down
2. turning to delay on and off very quickly to capture words ramdomly
3. widldy turning the delay time knobby to create "theramin" like whines
and tones
4. "stacking" beer commercials

David Kirkdorffer

------------------------------
Date: Thu, 21 Nov 1996 09:54:24 -0500
From: david kirkdorffer <david-kirkdorffer@cca-int.com>
To: Loopers-Delight@annihilist.com
Subject: The Mermen
Message-ID: <32946D20.4935@cca-int.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

I saw the Mermen in Boston a few months ago.  I'd heard great things
about them from a friend in San Fran.

I couldn't believe the amount of equipment the guitarist had with him! 
Basically two refrigerator sized racks and many many floor pedals (eg.,
four earnie ball volume controlers) running in a stereo set-up. Oh yes,
he has two echoplexes.  And a few Fenderesque guitars each with Synth
pick-ups.

Basically, there were two lines of thought circulating among the many
musicians in attendance:

1.  "Wow, I'd love to have that much cool outboard gear."
2.  "Wow, I'd be embarassed to have so much outboard gear, and still
only sound like I was using an analog 2-second delay."

Some subtle looping did occure, but mostly not.

David Kirkdorffer

------------------------------
Date: Thu, 21 Nov 1996 10:12:54 -0500
From: david kirkdorffer <david-kirkdorffer@cca-int.com>
To: Loopers-Delight@annihilist.com
Subject: Bye Bye to you all
Message-ID: <32947176.57E7@cca-int.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Kim -- ***please cancell my subscription to the Loopers-Delight
Digest.***

As I receive these via a friend who PRINTS them out for me to read, it's
too burdensome for them to continue doing me this favour.

In fact, less than three weeks of postings made for a reem and a half of
paper!  That's 750 pages!!

I hope to touch base with you all from the Text Archives of Looper's
Delight Mailing List Posts.  So keep them up to date!

Happy looping to all
Happi loopin to all
Hapi loopin t all
Hapi lopin tal
Hapi lopintal
Hapilopintal
Ha-ilointal
Hail loin til
Hail loitil
Ailloiti
Ailot
Alot
Alo
Al
a

David Kirkdorffer

------------------------------
Date: Thu, 21 Nov 1996 11:52:39 -0500
From: RA336@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: Drummers and Syncing
Message-ID: <961121115238_1351911401@emout17.mail.aol.com>

hey all...
here's another take on live looping & syncing:

I have spent 9 years in a band with two people looping with delays and two
other people looping with samplers...
the delay-based loopers were me (stereo guitar>modified pcm42>jamman and our
violinist (stereo violin>tc2290>digitech 8 second delay)...
the sampler loopers were the drummer who generated his own loops and
triggered his own click in a headphones setup... and the keyboard player who
used sampled and sequenced loops. He would at times send midi clock to the
drummer and to the delays in cases where we wanted hard sync. Other times,
mr. drummer was master of time and our subsequently perfomed looping
synce-on-the-fly and previously created and sampled loops all somehow managed
to sit. I'm a big fan of creating loops, especially ambient ones and sampling
them for later tomfoolery, so alot of the  composition was based around
samples of rythmic loops with ambi-washes and further rythmic textures
created spontaneously.
 We were and continue to be (I think) one of the very few song-oriented bands
to be using techniques like these. Best thing to do though is have your own
sound man, as a house guy who is unfamiliar with your act will have nary a
clue as to what sound is coming from where...
we fooled many

------------------------------
Date: Thu, 21 Nov 1996 12:43:57 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: Something to try, if you dare
Message-ID: <Pine.SGI.3.91.961121124249.3800A-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Wed, 20 Nov 1996, Ray Peck wrote:

> >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.  ;-)

Don't you run the risk of frying the innards of the microwave itself by 
bouncing the waves off of the reflective surface of the CD?  This is why 
using metal cookware ina microwave oven in a big no-no.

Just asking,

--Andre

------------------------------
Date: Thu, 21 Nov 1996 13:25:42 -0800
From: Kim Flint <kflint@chromatic.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Something to try, if you dare
Message-Id: <2.2.32.19961121212542.00995714@xenon.chromatic.com>
Content-Type: text/plain; charset="us-ascii"

At 12:43 PM 11/21/96 -0800, you wrote:
>On Wed, 20 Nov 1996, Ray Peck wrote:
>
>> >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.  ;-)
>
>Don't you run the risk of frying the innards of the microwave itself by 
>bouncing the waves off of the reflective surface of the CD?  This is why 
>using metal cookware ina microwave oven in a big no-no.
>
>Just asking,
>
>--Andre
>

That's why you do it at work.....  ;-)

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

------------------------------
Date: Thu, 21 Nov 1996 17:07:54 -0800 (PST)
From: rpeck@PureAtria.COM (Ray Peck)
To: Loopers-Delight@annihilist.com
Subject: Re: Something to try, if you dare
Message-Id: <199611220107.RAA10669@pure.PureAtria.COM>

>> 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.  ;-)
>
>Don't you run the risk of frying the innards of the microwave itself by 
>bouncing the waves off of the reflective surface of the CD?  This is why 
>using metal cookware ina microwave oven in a big no-no.
>
>Just asking,

I thought so, too (I wasn't the one to try it), but the microwave
ovens were all unharmed.

(this sounds like the animal welfare disclaimer at the end of a movie)

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