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

Loopers-Delight-d Digest                                Volume 96 : Issue 38

Today's Topics:
  Re: Beyond Fripp                      [ matthias@bahianet.com.br (Matthias  ]
  Stereo                                [ matthias@bahianet.com.br (Matthias  ]
  Re: On-guitar control?                [ matthias@bahianet.com.br (Matthias  ]
  RE: Beyond Fripp (long)               [ Michael Peters <100041.247@CompuSer ]
  Fripp Equipment -- Circa January1986  [ david kirkdorffer <david-kirkdorffe ]
  RE: Fripp Equipment -- Circa January  [ John Ott <John_Ott@ATK.COM> ]
  Bio modification...                   [ nplanque@infobiogen.fr ]
  echoplex DP in stock?                 [ Chris Chovit <cho@gomez.jpl.nasa.go ]
  Re: echoplex DP in stock?             [ "T.W. Hartnett" <hartnett.t@apple.c ]
  Fripp Equipment -- Circa now          [ erwill@ix.netcom.com (James E Willi ]
  RE: Fripp Equipment -- Circa now      [ John Ott <John_Ott@ATK.COM> ]
  Re: echoplex DP in stock?             [ The Man Himself <altruist@shoko.CAL ]
  Re: Fripp Equipment -- Circa now      [ The Man Himself <altruist@shoko.CAL ]
  Re: Stereo                            [ Dpcoffin@aol.com ]

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------------------------------
Date: Fri, 20 Dec 1996 06:18:24 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: Beyond Fripp
Message-Id: <v01520d03aedfdde25a53@[200.254.32.118]>
Content-Type: text/plain; charset="us-ascii"

Hi Dave!
I knew you were going to say some nice things like those:

>Something about this particular thread makes me a little
>uncomfortable.  It's not intended to "dis" Fripp, but that's sort of
>how it comes off.  It seems like people are faulting Fripp for not
>going far enough, not being sufficiently dynamic, not being
>experimental enough.

When I said "Its time to go way beyond Fripp in terms of looping!" on Dec,
7, I was suggesting that *we* could move ahead into other directions.
Fripp did his pioneer work and knows what he has to do.

Later I had to admit: Beyond maybe is rather understood as
"further in the same direction", while I meant musical broadening.

Listening to your tape (right now), there are parts that clearly remind of
Fripp and others that are different and maybe go "beyond Fripp" to use this
expression for the very last time...

>I don't believe an artist must continually break new ground for ever
>and ever.  Fripp has found a formula for looping that works for him,
>and he practices his art within a set of self-imposed limitations.  To
>my ears, Fripp's looping has always been oriented toward developing
>textures by layering simple, consistent tones, a sort of minimalist
>expressionism where tonal color is all-important.  Dynamics, movement,
>and tonal variety distract the listener from the details of texture.

Very nicely put.
The limitation in this case originally was a technical one, I think. Then
it turned into a style and I hope all styles live on - but I like the
search for new ones.
We could impose different self-limitations, like the ones that actual
technology imposes, or like my rejection to study and remember themes.

...
>Please, don't compare musicians like this.  It's not a competition.
>Respect Robert Fripp for his incomparable achievements, but don't
>fault him for not going where you want him to go.

Right. I learned it scool, that Beethoven went beyond Mozart but which was
the bigger genious has not been said, nor meant. Its just that analyzing
trip...

I do not like competition at all and absolutely reject to play where "the
best" wins something, but saying that there is not competition is maybe
more wish than reality...


You brought it to the point, my friend. I hope we can abandon it and trust
each others positive intentions again  :-)
Matthias

------------------------------
Date: Fri, 20 Dec 1996 06:18:40 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Stereo
Message-Id: <v01520d05aee0006074ff@[200.254.32.118]>
Content-Type: text/plain; charset="us-ascii"

Helo David!
New breeze... :

>... stereo a MUST, expandable ram, all the other
>usual tricks ala Vortex, Jamman, Echoplex, AND no more than $1000...(or at
>least not much more...too bad I can't afford to jump on a pair of Echoplexes
>right now!). I keep leaning towards, then backing off the little Roland
>MS-1...great price and memory, but so limited...too bad.

Is the MS-1 stereo? What can it do?

Does anyone use JamMen stereo? Is the MIDIclock enough to sync it?

Two PCM 42 you can sync by simply pushing the main clock (which is not very
high) from one machine to the other. But it takes some understanding.

The Echoplex has a sample sync connection provided.

Without syncing all sound will allways fade to the side of the "quicker"
machine and mono will become strange because of the filtering the slightly
unequal timing causes.

I am recording with a percussionist these days and I would love to have
stereo for him. Its very nice on guitar, too (especially if you are not
lazy to pan different voices), but for a whole range of instruments stereo
more important.

I hope we can soon have a stereo machine with all the features for just 1000$.

And I hope the lack of a cheap stereo solution does not hold back from looping!
Matthias

------------------------------
Date: Fri, 20 Dec 1996 06:18:47 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: On-guitar control?
Message-Id: <v01520d06aee00680e531@[200.254.32.118]>
Content-Type: text/plain; charset="us-ascii"

I would like to help, but my Vortex is still with Chris :-/
So, what do you mean by ac/dc separaton and CC input?

>I don't have a Vortex, and my guess on the ac/dc separation might be way
>off, but...
>would it be possible to wire a guitar signal to a stereo plug, with the
>other tap driving the 'tex CC input?  Could the signals be separtated by
>capacitor,
>eg

I suppose the control signal is dc. You may put a cap to ground to keep the
line slow and thus prevent it from sending clicks into the parallel line
with the sound.
Why did you put the serial cap?
>
>-------------------------|         |--------------
>pickups, vol etc           stereo                 to amp in
>-------------------------|  cord   |-------||-----
>spare pot                               |
>-------------------------|         |----=======to CC i/p
>
>does this make sense?  (sorry, I'm no ASCII artist either!)
>
>Michael
>
>Dr Michael Pycraft Hughes      Bioelectronic Research Centre, Rankine Bldg,
>Tel: (+44) 141 330 5979        University of Glasgow, Glasgow G12 8QQ, U.K.
>        "Everything in moderation, including moderation" (Zen Proverb)

------------------------------
Date: 20 Dec 96 10:00:31 EST
From: Michael Peters <100041.247@CompuServe.COM>
To: "'INTERNET:Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Beyond Fripp (long)
Message-ID: <961220150030_100041.247_JHB51-1@CompuServe.COM>

> it seems that Riley was indeed using a very similar methodology, >although the
exact nature of the work that he describes seems
>more along the lines of playing and recording silently, then stopping the
>instrumental performance and playing back some of the saxophone, >which is a
different sort of beast.  (Of course, I may well be in error >about this...)

As far as I understood he just did this when during his all-night concerts, he
needed to have a break and didn't want to interrupt his spaced-out (or asleep)
audience. Many years ago, I saw 2 or 3 evening concerts and he played along with
his delay all the time, although at that time I had no clear idea of what he was
exactly doing.

>I hope I didn't give you the impression that I was ignoring your >contributions
to the web page. 

Thanks, no that's alright Andre, I just wanted to make sure. <g>

Michael Peters   
private:        100041.247@compuserve.com
work:   mp@harold-scholz.de
http://ourworld.compuserve.com/homepages/mpeters

------------------------------
Date: Fri, 20 Dec 1996 11:28:02 -0500
From: david kirkdorffer <david-kirkdorffer@cca-int.com>
To: Loopers-Delight@annihilist.com
Subject: Fripp Equipment -- Circa January1986
Message-ID: <32BABE92.1E3D@cca-int.com>
Content-Type: text/plain; charset=iso-8859-1
Content-Transfer-Encoding: quoted-printable

Hi Folks -- and seasons greetings to you all.  While I'm not able to
read or receive looper-delight, I'm thinking of you.   Here's a little
something I thought you'd all get a kick out of... and I 'spect it may
be something worth keeping for the web-page...


In January, 1986, Robert Fripp was featured in Guitar Player magazine.=20
He was interviewed and at great length (reproduced on the Elephant Talk
Web-Site -- http://www.cs.man.ac.uk/aig/staff/toby/et/intervws.htm).
Guitar Player enclosed a floppy-vinyl disk (Soundpage) of some
Frippertronics, called "Easter Sunday."  Along with the interview and
the Soundpage was a sidebar on the equipment Fripp was using at that
time.  This sidebar article is presented bellow.

merry merry merry erry rry rri rrirri=20

David Kirkdorffer

****************************************************8*******

Frippertronics
An mini-interview with Robert Fripp=20
by Tom Mulhern
Guitar Player, January 1986

The accompanying Soundpage features Robert Fripp using Frippertronics, a
system hat recirculates improvised guitar lines using a pair of tape
recorders, and also employs electronic effects to manipulate the
timbre.  For "Easter Sunday, " which was recorded on Easter Sunday,
1983, in Toronto, Fripp improvised with a Roland GR-700 synthesizer, and
soloed on top of that with a Takamine acoustic, followed by a Les Paul
with a fuzz box played through a Fender Princeton amp.  Here, Robert
Fripp discusses the origins of Frippertronics, as well as his customized
equipment and his guitar synthesizer.

Guitar Player Editor.

GP =96 When did Frippertronics originate?

RF =96 Originally, the system was introduced to me by Brian Eno. I worked
with him on it for the piece of music that became No Pussyfooting, which
was recorded in July 1972 and released I 1973.  I began working on it on
my own in June and July 1977, when I was living in New York.=20
Frippertronics as such went public for the first time in February 1978
at The Kitchen [a New York arts and performance gallery], where I was
giving a solo concert.  I needed a name for it, so I came up with
"Frippertronics" because it was silly.  Then it went very, very public
in 1979 with a four-month solo tour =96 two months in Europe and two in
America.  And it was there, actually in front of people =96 in record
shops, pizza parlors, ecord offices, small cinemas, museums, all matter
of places =96 that I began to learn to work with it pretty well.  I would
run the tape back and improvise on top of it.  The original form was
with two Revox tape recorders, but now I=92m working with the
Electro-Harmonix 16 second Digital Delay.  It was advertised as a Fripp
In The Box.  It=92s far smaller, quicker, and easier to set up than two
Revoxes.  Although, the sounds one gets are quite different.  The
quality I nowhere near the same as the two Revoxes.

GP =96 Does this mean that the sound quality I better or worse?

RF =96 We would normally say it=92s worse, but I use its limitations quit=
e
deliberately to come up with different sounds and textures.  It loses an
awful lot of top and bottom.  But what it can do is run at double-speed
and half speed at the press of a switch.  And then I can put it through
a Harmonizer and a Roland Space Echo.  On the Harmonizer I bring in the
octave above, and on the Roland Space Echo I can add sound on sound.=20
Therefore, one can be going forwards and backwards at different speeds
all at once, harmonized or not..  Once one=92s put the basic signal into
the Fripp In The Box, one can then play with it in various ways.  I used
this system with the Roland GR 700 about a year -and-a-half ago in a
live, improvised performance in Wimborne Minster at a 1,000-year-old
church which the BBC filmed.  They were doing a 30-minute biography of
my life.  It was the first time I=92ve used it live.  And last summer I
worked with it in England in three performances in record shops.  The
Electro-Harmonix unit is limited.  It doesn=92t have the facilities of th=
e
large-scale Frippertronics system with two Revoxes, but it=92s very mobil=
e
and has its own characteristic quality.

GP =96 When you were using the Revoxes, did you find that the tape-loop
created a limitation, in terms of the time it took for sounds to
recirculate?

RF =96 Well, strictly speaking, there isn=92t a continuous loop on
Frippertronics.  It=92s simply one reel of tape going from one machine
into the other.  The playback system from the right machine becomes the
second imput for he left machine.  So, its not actually a loop, although
in a sense it is, because the output from the second machine loops back
into the first.  There are limitations to the system, but limitations
don=92t worry me.  I accept limitations fairly happily.

GP =96 Did you have a variable-speed oscillator to control the speed of
the machines?

RF =96 Yes.  You see, I=92ve been working with this system in which I
normally run at 7.5 ips (inches per second), but there=92s no such thing
as two machines running at exactly 7.5 ips.  So it=92s useful to have a
VSO to bring the other one back up to the right speed, to maintain
constant tension of the tape over the record and playback heads.  But
you find that if the tension is too great or too loose, you get a very
quick build up of wow and flutter.  It=92s a delicate system, and unless
the machines ae biased accurately to the particular tape you=92re using,
and the heads are clean, all manner of things go wrong.  Then someone
bumps the table the machines are on, and an unexpected shake comes in.=20
You have to be on your toes, and you can never guarantee it=92s going to
work accurately.  It=92s a very precarious way of working =96 which is pa=
rt
of its appeal.  It has this advantage: you can play it back later,
because it=92s an analog system..  But the Electro-Harmonx Fripp In The
Box has no memory.  So, once you unplug it, that=92s it.  At Arny=92s Sha=
ck,
the studio I sue in England, we put something into the Fripp In The Box
and record two minutes of tape, so we can refer back to it, if we wish.=20
This way, we build up the library of different short pieces and
signatures generated by the Fripp In The Box.

GP =96 What kinds of electronic devices did you use besides two Revoxes?

RF =96 I generally use a small pedalboard with a volume, wah-wah and
fuzz.  It never really mattered what types they were, except the volume
pedal I used was the cheapest one, the first one I ever bought, in
1967.  And until Roland out volume pedals in 1981, which are now the
best I=92ve found, I had to use the original one, which had a good on/off
sweep.  The Roland volume pedals let you adjust the on and off range.=20
All of my electronic equipment is built into rack mounted modules by
Tony Arnold of Arny=92s Shack.  It=92s all custom equipment.  He takes a
small effect, builds it into a rack-mounting module, and slots it in.=20
Besides the Roland Space Echo, I also have am Ibanez digital delay.  The
specific kinds of fuzz boxes I=92ve used ate Electro-Harmonix] Big Muffs
and Foxey Ladys, which were good =96 the old ones.  You can=92t get fuzz
boxes like that anymore; I=92ve tried. All you can come up with, if you=92=
re
lucky, are the old ones.  Tony Arnold is planning to take a number of
old buzz box circuits and put them all in one module with a switching
rank, so you can switch around to any one of five or six traditional,
old circuits.  You can then go to Big Muff to Foxey Lady to Burns
Buzzaround to Color-Sound and so on.

GP =96 What kind of amp do you use?

RF =96 A Roland JC-120, but I=92m looking for a good valve [tube] amp;
ironically, JC-120s are appalling for fzz-sustain, in the way that I
work with it.  So I use a Fender or a Marshall =96 virtually any valve am=
p
will do when I=92m working fizz sustain.  I generally run in mono,
although with the JC-120, one takes the left and the right channels for
the spread.

GP =96 Do you have any other electrics?

RF =96 Yes, I have a very fine =9257 sunburst Fender Strat given to me by
Robin Trower in 1975 =96 a very kind, very generous gift.

GP =96 When you switch from, say, your Les Paul or Tokai to the Strat, is
there a period of readjustment?

RF =96 Well, I=92m primarily a Gibson Les Paul player, so yes.  A Strat i=
s
an entirely different instrument.  And again, an acoustic guitar is
entirely different from an electric guitar; it requires a different
vocabulary, a different approach =96 a different way of living, actually.=
=20
And the technique of playing is somewhat different.  Obviously, one is
working for tone production.  There are a lot less good acoustic guitar
players that there are electric.  Almost anyone can get a good sound out
of an electric guitar.  I mean, it=92s not that easy, but almost anyone
can.  Not almost anyone can get a good sound out of an acoustic.  If you
slice across the strings, you get scrape, so to counter that you use a
nasty plastic plectrum.  But then, you don=92t produce any tone.  Most
players require a different pick for an acoustic and an electric
guitar.  I don=92t, but that has to do with the particular picking
technique that I use.  Also, with an acoustic guitar, one needs a far
better right hand technique than one does for the electric guitar.  With
electric you can coast a lot with the left hand.  With acoustic guitar,
it doesn=92t work.  And the technique of playing is somewhat different.

GP =96 Your synthesizer solo n "Elephant Talk" [Discipline] goes beyond
the normal guitar=92s range.  It has a quality similar to that of a
balloon releasing its air while the opening is pinched.

RF =96 Yes, something like that.  I=92m not exactly interested in soundin=
g
like a saxophone or anything identifiable, but I am interested in
extending the range of the guitar.  On the backing loop to "Easter
Sunda," the synthesizer gives me an octave higher than the normal
guitar.

GP =96 By and large, the guitar synth is in much the same novelty role as
the early keyboard synthesizers.

RF =96 The guitar controller of the synthesizer at the moment has not yet
become a unique instrument.  A new music to go along with a new
instrument hasn=92t yet appeared.  When King Crimson were in Japan, Rolan=
d
told Adrian Belew that they hadn=92t expected the synthesizer guitar to b=
e
used as we were playing it =96 which is essentially as a musical
instrument.  I think they had in mind that fairly poor players would be
strumming open E-chords with these wonderful sounds coming out.  When we
took it seriously and really worked, played with things, they were quite
taken aback.  This is my understanding of it.

GP =96 Wen did you begin working with a guitar synthesizer?

RF =96 In the spring of 1981.  I still use the Roland guitar synthesizer.=
=20
The hexaphonic pickup in on a Tokai Les Paul copy, which has been
modified for me by a man in England called Red Lees.  He put in a
coil-tap and phase-reverse switch for each pickup and a Kahler tremelo
arm.  So I have a one-and-only unique guitar.  The synthesizer side of
it is useful but it=92s very poor for racking.  I=92ve heard the Synclavi=
er,
and it is very impressive.  But it doesn=92t sound like guitar, which of
course is presumably why people use it.  So I ask myself why is it that
a guitar player bothers to sound like a trumpet and come up with lines
that are a bit feeble for a trumpet player, or a sax, and so on.  I
don=92t think the guitar synthesizer has reached the point yet where it=92=
s
become a new instrument.  For example, the electric guitar was
originally an acoustic guitar that became louder.  But because it became
louder, it became another instrument.  So, Charlie Christian, in a
sense, became Les Paul, in a sense, became Jimi Hendrix.  At that point,
the electric guitar was a different instrument.  It has absolutely no
relationship with an acoustic metal-strung guitar.  It=92s a different
instrument with a different vocabulary, different bodies of technique,
different music, a different lifestyle of the person playing it.  The
synthesizer has not yet reached that level of individuality, though it=92=
s
on its way.

END

------------------------------
Date: Fri, 20 Dec 1996 11:10:08 -0600
From: John Ott <John_Ott@ATK.COM>
To: "'Loopers Delight'" <Loopers-Delight@annihilist.com>,
        "'david-kirkdorffer@cca-int.com'" <david-kirkdorffer@cca-int.com>
Subject: RE: Fripp Equipment -- Circa January1986
Message-ID: <c=US%a=_%p=ATK%l=EXCHANGE_MN1-961220171008Z-57926@Exchange_MN1.ATK.COM>

>>From:         david kirkdorffer
>Sent:  Friday, December 20, 1996 4:28 PM
>To:    John_Ott@ATK.COM
>Subject:       Fripp Equipment -- Circa January1986
>
>Hi Folks -- and seasons greetings to you all.  While I'm not able to
>read or receive looper-delight, I'm thinking of you.   Here's a little
>something I thought you'd all get a kick out of... and I 'spect it may
>be something worth keeping for the web-page...
>
>
>In January, 1986, Robert Fripp was featured in Guitar Player magazine. 
>He was interviewed and at great length (reproduced on the Elephant Talk
>Web-Site -- http://www.cs.man.ac.uk/aig/staff/toby/et/intervws.htm).
>Guitar Player enclosed a floppy-vinyl disk (Soundpage) of some
>Frippertronics, called "Easter Sunday."  Along with the interview and
>the Soundpage was a sidebar on the equipment Fripp was using at that
>time.  This sidebar article is presented bellow.
>
>merry merry merry erry rry rri rrirri 
>
>David Kirkdorffer

<


Fripp's current rig is in Guitar Player June 95 issue. King Crimson
was the cover feature.  (Also a feature on Trey Gunn and Tony Levin on
Stick)   Issues before Sept 95 is on the gopher server which always is
full.  (If have had about
a One in twenty success rate connecting)

http://www.enews.com/magazines/guitar_player

He mentioned that he got peved at  Electro-Harmonix for 
Using the Name "Fripp in the box", He called them up 
and asked if he could have one and they said no.
"Imagine that" Fripp said with a wry grin.

He gear has changed some.  Still uses the Tokai and a Roland 
but uses the TC Electronics 2290 (2) for delay and looping.
Also has a Eventide 3500 and Digitech GSP2101 in his rack 
and a Sansamp for distortion and amp simulation.  Live
and Studio goes direct to the board.   

merry merry
John
    
  

>
>

------------------------------
Date: Fri, 20 Dec 1996 19:22:24 +0000
From: nplanque@infobiogen.fr
To: Loopers-Delight@annihilist.com
Subject: Bio modification...
Message-Id: <32BAE770.38D3@infobiogen.fr>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Just to say that I've got a K7 completed that is called "Store My 
Secrets". So if this little box in my bio could be updated, I would be 
extremely glad.....


Olivier Malhomme


------------------------------
Date: Fri, 20 Dec 1996 10:47:38 -0700
From: Chris Chovit <cho@gomez.jpl.nasa.gov>
To: Loopers-Delight@annihilist.com
Subject: echoplex DP in stock?
Message-Id: <v03007808aee080779217@[137.79.95.51]>
Content-Type: text/plain; charset="us-ascii"

fellow loopers,

Due to the rumored Echoplex DP price increase, I thought I would look into
popping for another 'plex before the year was up.  I discovered that
Manny's Music in NY (where I bought a 'plex for $480 a couple of years ago)
no longer carries them -- Sweetwater Sound (Illinois) has them back ordered
'till February -- and Sam Ash, NY is selling them for $629!  ANybody know
any places that have them in stock and is selling them for <= $500?

- chris



_____________________________________________________
Chris Chovit                                          cho@gomez.jpl.nasa.gov
AVIRIS Experiment Coordinator              ph: (818) 354-8077
JPL M/S 306-336                                 FAX: (818) 393-4406
4800 Oak Grove Dr.               pager #: (800) 759-8255 PIN 834-3869
Pasadena, CA 91109
_____________________________________________________

------------------------------
Date: Fri, 20 Dec 96 13:00:38 -0000
From: "T.W. Hartnett" <hartnett.t@apple.com>
To: "Looper's Delight" <Loopers-Delight@annihilist.com>
Subject: Re: echoplex DP in stock?
Message-Id: <199612201900.LAA29028@scv2.apple.com>
Content-Type: text/plain; charset="US-ASCII"

>ANybody know
>any places that have them in stock and is selling them for <= $500?


I called around about two weeks ago, and everyone was doing them for $549.

Travis Hartnett

------------------------------
Date: Fri, 20 Dec 1996 11:00:09 -0800
From: erwill@ix.netcom.com (James E Williamson)
To: Loopers-Delight@annihilist.com.I'm.afraid.the.june.95.GP.is.blissfully.out.of.date.as.far.as
Subject: Fripp Equipment -- Circa now
Message-Id: <199612201900.LAA18249@dfw-ix9.ix.netcom.com>

Fripp's rigg goes.  As of the HORDE tour he had two Roland GP-100 
preamps, two Eventide h3000d/se processors (which he prizes for it's 
grainy pitch-shifting, most likely, not the more advanced dsp4000), 
FOUR tc2290 delays, all being routed through a Sound Sculpture 
Switchblade.  His Tokai guitar has been replaced by a Fernandez les 
paul gold-top, with the sustaining pickup system installed, and a gk2a 
synth pickup.
    Now, here comes the sad part.  He replaced the gr300 with the newer 
gr1 synthesiser.  This may not seem like a big deal, but it has 
completely changed the way his soundscapes sound.  The 
soon-to-be-released Gates Of Paradise cd sounds like a Windham Hill 
release.  I, personally, love the way his soundscapes sounded, the 
digitally effected analogue synth being a crucial part of that.  I'm a 
keyboard player, and know a lot about sysnthesis, and I really hate the 
way the gr1 sounds.  I here Fripp just got a vg8, which I love.  The 
vg8 is the coolest guitar thing Roland has done since the gr300.
    Has anyone tried out the Akai Riff-O-Matic for a looper yet?
-- 
James Eric Williamson - erwill@ix.netcom.com - erwill@heartland.bradley.edu
          One of Peoria's most obscure ambient blues musicians

------------------------------
Date: Fri, 20 Dec 1996 13:07:37 -0600
From: John Ott <John_Ott@ATK.COM>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Fripp Equipment -- Circa now
Message-ID: <c=US%a=_%p=ATK%l=EXCHANGE_MN1-961220190737Z-58445@Exchange_MN1.ATK.COM>

>>>----------
>From:  erwill@ix.netcom.com
>Sent:  Friday, December 20, 1996 7:00 PM
>To:    John_Ott@ATK.COM
>Subject:       Fripp Equipment -- Circa now
>
>Fripp's rigg goes.  As of the HORDE tour he had two Roland GP-100 
>preamps, two Eventide h3000d/se processors (which he prizes for it's 
>grainy pitch-shifting, most likely, not the more advanced dsp4000), 
>FOUR tc2290 delays, all being routed through a Sound Sculpture 
>Switchblade.  His Tokai guitar has been replaced by a Fernandez les 
>paul gold-top, with the sustaining pickup system installed, and a gk2a 
synth pickup.<<<

Is the sustain pickup, Micheal Brook's infinite guitar system?  I read
in guitar player that Brook was keeping the details secret so
as to release it as a product.  Has he done that or just gave one to
Fripp?
>>
>    Now, here comes the sad part.  He replaced the gr300 with the newer 
>gr1 synthesiser.  This may not seem like a big deal, but it has 
>completely changed the way his soundscapes sound.  The 
>soon-to-be-released Gates Of Paradise cd sounds like a Windham Hill 
>release.  I, personally, love the way his soundscapes sounded, the 
>digitally effected analogue synth being a crucial part of that.  I'm a 
>keyboard player, and know a lot about sysnthesis, and I really hate the 
>way the gr1 sounds.  I here Fripp just got a vg8, which I love.  The 
>vg8 is the coolest guitar thing Roland has done since the gr300.<

      I think I remember reading that Belew has switched also
     His old Roland was dropped by Baggage handlers (Actually
his whole rack, the Roland didn't survive.)

merry looping
John

>

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Date: Fri, 20 Dec 1996 13:15:30 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
Subject: Re: echoplex DP in stock?
Message-ID: <Pine.SGI.3.91.961220131504.21764B-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Fri, 20 Dec 1996, Chris Chovit wrote:

> fellow loopers,
> 
> Due to the rumored Echoplex DP price increase, I thought I would look into
> popping for another 'plex before the year was up.  I discovered that
> Manny's Music in NY (where I bought a 'plex for $480 a couple of years ago)
> no longer carries them -- Sweetwater Sound (Illinois) has them back ordered
> 'till February -- and Sam Ash, NY is selling them for $629!  ANybody know
> any places that have them in stock and is selling them for <= $500?

You might try Nadine's in Hollywood; they quoted someone on this list a 
$500 price not too long ago.

--Andre

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Date: Fri, 20 Dec 1996 13:17:47 -0800 (PST)
From: The Man Himself <altruist@shoko.CALARTS.EDU>
To: Loopers-Delight@annihilist.com
cc: Loopers-Delight@annihilist.com.I'm.afraid.the.june.95.GP.is.blissfully.out.of.date.as.far.as
Subject: Re: Fripp Equipment -- Circa now
Message-ID: <Pine.SGI.3.91.961220131619.21764C-100000@shoko.CALARTS.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Fri, 20 Dec 1996, James E Williamson wrote:

> I here Fripp just got a vg8, which I love.  The 
> vg8 is the coolest guitar thing Roland has done since the gr300.

Fripp had a VG8 sitting on top of his rack when I saw Crimson at House of 
Blues in October of 1995, so he's had one for some time.  I thought that 
"Gates of Paradise" was culled from some gigs he played in the UK around 
the beginning of this past summer, no?  That would certainly put him 
within the range of VG-dom for the upcoming releases...

--Andre

------------------------------
Date: Fri, 20 Dec 1996 16:46:24 -0500
From: Dpcoffin@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: Stereo
Message-ID: <961220164502_1489567175@emout10.mail.aol.com>

>>Is the MS-1 stereo? What can it do?
It is stereo, but you can't overdub, just do straight
sampling/looping/playback from pads....it IS 4-voice polyphonic, tho...and
samples are in flash ram so you can turn it off, plus save to cards, which
can boost memory times into the many minutes of (compressed) 16-bit audio.

>>Does anyone use JamMen stereo? Is the MIDIclock enough to sync it?
Apparently, you can't get two JamMen to be linked at the sample level

David

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