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

Loopers-Delight-d Digest                                Volume 96 : Issue 6

Today's Topics:
  Re: BRACE YOURSELVES!!!               [ Chris Chovit <cho@gomez.jpl.nasa.go ]
  Re: MIDI Loops                        [ matthias@bahianet.com.br (Matthias  ]
  Re: MIDI Loops                        [ Chris Chovit <cho@gomez.jpl.nasa.go ]
  Re: Aloha!                            [ Teed Rockwell <74164.3703@CompuServ ]
  Re: MIDI Loops                        [ Paolo Valladolid <pvallado@wayneswo ]
  Re: MIDI Loops & powerbooks           [ James Coker <jcoker@interaccess.com ]
  Re: MIDI Loops                        [ Paolo Valladolid <pvallado@wayneswo ]
  Re: MIDI Loops                        [ KILLINFO@aol.com ]
  Re: MIDI Loops                        [ improv@peak.org (Dave Trenkel) ]
  re:Hello and intro                    [ improv@peak.org (Dave Trenkel) ]
  Re: BRACE YOURSELVES!!!               [ matthias@bahianet.com.br (Matthias  ]
  Acoustic sound and looping            [ Dave Stagner <dstagner@icarus.net> ]
  tunings                               [ studio seventeen productions <ambie ]
  frightening if true                   [ studio seventeen productions <ambie ]
  interesting thoughts...               [ studio seventeen productions <ambie ]
  Re: BRACE YOURSELVES!!!               [ finley@ecst.csuchico.edu (Matthew F ]

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------------------------------
Date: Thu, 31 Oct 1996 23:05:15 -0400
From: Chris Chovit <cho@gomez.jpl.nasa.gov>
To: Loopers-Delight@annihilist.com
Subject: Re: BRACE YOURSELVES!!!
Message-Id: <v03007803ae9f13f7c0a5@[137.79.94.142]>
Content-Type: text/plain; charset="us-ascii"

Andre wrote:

>The idea is this: To try and stage some sort of live gathering of loop
>artists.

Excellent idea!  Count me in!  I'm in the LA area, and also willing to
drive.  It would be fun to get together in any venue: someone's house,
warehouse, college campus, random field or ampitheater, etc....

I would have liked to have seen your recital.  This idea would give some of
us [loopists] a chance to see (and hear) what others are doing.  I remember
Matthias said something about music being a ritual act, thus, there is
something lost in the recording.  I feel this way too (although I also love
recordings!)  My favorite aspect of looping devices is that they have
allowed me to capture (and feedback into) my performance.  And it seems
that Matthias designed the Echoplex DP to be performance-oriented, ie. to
remove the obstacles of a standard recording format.  A CD or tape is a
good way to get an idea of what others are doing (and I like the idea of
going ahead with a compilation mix)...but there' s nothing like a LIVE
performance!

My preferences are:
date:  any time after Nov. 22
place:  anywhere between SanDiego and SanFrancisco

- chris

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

------------------------------
Date: Fri, 1 Nov 1996 14:11:35 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops
Message-Id: <v01520d00ae9f165e56c4@[200.254.32.108]>
Content-Type: text/plain; charset="us-ascii"

>> >About how looping synth via midi, Matthias asked how to do it?
>> >Quite simple. My cubase has midi delay in it. I set the thing on the
>> >duration I want. You can easily synced it to tempo, since it is a midi
>> >delay.
>>
>> Oh I see, it like a digital effect for MIDI, not the sequencer itself
>>you use.
>> But can you control its parameters while playing so as to "freeze" a loop
>> for soloing or have it fade out to renew it etc?
>> Is there any option to multiply the delay time while playing?
>>
>> Still curious
>> Matthias

Paolo helps:
>I used an Opcode Max patch that had eight delay lines, each of which
>pitch-shifted to a different interval and each of which had it's own
>"seed" number to multiply with the input MIDI velocity value to produce
>a delay time.

So you choose any time into which delay you want to load and can change its
"seed" number and Feedback while playing and stay synced between all delay
lines, if you want. Yes?
The Notebook and the price of the program is a drawback for whom uses it
for this only. Ofcourse you record and organized the instruments too,
handy.

Those little MIDI players could be capable of a little more: They could
read a program from the disc and execute it while recording MIDI. (they
don't do that, do they?)

But, back to Paolo:
>In addition, my patch would, at random, record a phrase
>and play it back. I could have easily set it up to loop the recorded
>phrase indefinitely.

Random seams interesting. Could be done in a audio looper, too. But then
again, if the machine does not know where notes start and stop, random will
chop all up. We will have to analyze the sound to improve.
MIDI is fascinating for this kind of creativity.


Then Jim contributed:
>I've achieved midi looping two ways. One was to trick
>MOTU Performer into looping and doing additive recording
>on the same track at the same time, the primary problem
>was chasing note releases on playback.

What is this problem? Do all sequencers have it?

>The other way is to
>use Opcode MAX, with which you can do just about anything
>you could want (with midi), provided you have the time
>to build and debug it.  It is very easy w/ Max to do
>midi delay lines w/ feedback.

So there is a way to imitate the FeedBack of a delay on Max? Each
repetition gets softer? I will have to study Max more.
But in a sequencer it is not possible, is it?

Well, for my music, I am not interested in using MIDI. It reduces
expression too much for my taste. Probably even ZIPI would have been little
intuitive.
But:
** I think it would be great to use similar tools and codes in audio- and
MIDI loops so we can play together, transfer, synchronize easily. **

Thanks
Matthias

------------------------------
Date: Fri, 1 Nov 1996 09:32:28 -0400
From: Chris Chovit <cho@gomez.jpl.nasa.gov>
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops
Message-Id: <v03007801ae9faae79271@[192.150.34.253]>
Content-Type: text/plain; charset="us-ascii"

Paolo wrote:

>>I used an Opcode Max patch that had eight delay lines, each of which
>>pitch-shifted to a different interval and each of which had it's own
>>"seed" number to multiply with the input MIDI velocity value to produce
>>a delay time.

Are you having any problems with Max getting bogged down under a heavy work
load?  What kind of Mac are you using?  A friend of mine built an 808-style
interface using Max and it doesn't run too smoothly on his PowerBook 5300
(its not even usable) but it seems to work better on my 7200/120.  I
imagine having 8 delay lines might cause similar problems.....

- chris

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

------------------------------
Date: 01 Nov 96 13:02:25 EST
From: Teed Rockwell <74164.3703@CompuServe.COM>
To: "INTERNET:Loopers-Delight@annihilist.com" <Loopers-Delight@annihilist.com>
Subject: Re: Aloha!
Message-ID: <961101180225_74164.3703_GHQ77-2@CompuServe.COM>

I've enjoyed my time on looper's delight, but I'm starting graduate school, and
I just don't have time to read all of these messages, and keep my music chops
up. I haven't had a chance to read any of those messages labeled "CD" yet, but I
am recording some material now that would be appropriate for a looper's CD.

        I would love to see a list devoted to just the echoplex, if there were
such a thing. No elitism implied here, I just don't have the time to read about
all those other cool machines. Anybody else interested?

  I would also like to receive the digest for awhile (with full instructions on
how to unsubscribe, if that becomes necessary, which it probably will). My
brother told me that some servers have a "find" command that would make it
possible for me to scan a digest and only find echoplex comments. If I can make
that work, I can probably keep receiving the digest, otherwise not.

        Also if anybody would like to contact me directly about looping
questions, I would love to talk. I Just can't find time to even throw out a
hundred messages a day, let alone read them. So best of luck to all loopers, and
stay in touch if you like

Teed Rockwell

------------------------------
Date: Fri, 1 Nov 1996 10:35:20 -0800 (PST)
From: Paolo Valladolid <pvallado@waynesworld.ucsd.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops
Message-Id: <199611011835.KAA22679@waynesworld.ucsd.edu>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

> Paolo wrote:
> 
> >>I used an Opcode Max patch that had eight delay lines, each of which
> >>pitch-shifted to a different interval and each of which had it's own
> >>"seed" number to multiply with the input MIDI velocity value to produce
> >>a delay time.
> 
> Are you having any problems with Max getting bogged down under a heavy work
> load?  What kind of Mac are you using?  A friend of mine built an 808-style
> interface using Max and it doesn't run too smoothly on his PowerBook 5300
> (its not even usable) but it seems to work better on my 7200/120.  I
> imagine having 8 delay lines might cause similar problems.....
> 
> - chris

I never had processor overload problems with my setup.  But I think a big
reason is that the GR700 transmits only MIDI note number and MIDI velocity.
Yes, that's _it_. No MIDI pitch bend.

Another possible reason (don't hold me to it, I'm not 100% positive on this)
is that maybe Max is still not PowerPC native.  At least my copy is not.


Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list   |\ 
|for Music Technology and Stringed Instruments                  | \
-----------------------------------------------------------------  |
\ finger pvallado@waynesworld.ucsd.edu for more info             \ |
 \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html            \| 
  -----------------------------------------------------------------

------------------------------
Date: Fri, 01 Nov 1996 13:48:20 +0000
From: James Coker <jcoker@interaccess.com>
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops & powerbooks
Message-ID: <3279FF94.32DD@interaccess.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

> Then Jim contributed:
> >I've achieved midi looping two ways. One was to trick
> >MOTU Performer into looping and doing additive recording
> >on the same track at the same time, the primary problem
> >was chasing note releases on playback.
> 
> What is this problem? Do all sequencers have it?

It's not the sort of thing the designers intended, so each sequencer
will act differently.  The looping features in MOTU are best suited
for drum or pattern programming.  What I wanted was multiple loops
with different lengths, and I'm not sure where it was happening, but
I kept loosing notes here and there.  Since then I've gotten an 
Echoplex, and I generally use that w/ a guitar for looping.

> 
> >The other way is to
> >use Opcode MAX, with which you can do just about anything
> >you could want (with midi), provided you have the time
> >to build and debug it.  It is very easy w/ Max to do
> >midi delay lines w/ feedback.
> 
> So there is a way to imitate the FeedBack of a delay on Max? Each
> repetition gets softer? I will have to study Max more.
> But in a sequencer it is not possible, is it?
> 

One can do feedback using Max, but the "code" to do that
has to manually remove notes when their volume (midi velocity) reaches
zero, otherwise the delay line can end up with a large number of 
notes that are not played, ultimately slowing down the system. I did a
good bit of Max programming last winter and found that the flexibility 
is remarkable, but more advanced patches can be time consuming to 
build. On the other hand, it is relatively easy to set up muliple 
lines (w/ feedback) and have envelope generators control their levels
independently, transpose them on the fly, etc.  


> Well, for my music, I am not interested in using MIDI. It reduces
> expression too much for my taste. Probably even ZIPI would have been little
> intuitive.

Doing midi-based looping is very different than audio looping, midi is
not as expressive as having a real instrument to play, but is very 
flexible and interesting in other ways. Max comes with a couple of 
large patches that are interactive composition engines.

BTW:  I have a powerbook 5300, and generally have found it to be only
as fast as the 60 Mhz 601 desktop Macs, as there's no L2 cache and I 
think the system bus is slower.  I have Max 3.0, and I'm pretty sure
it's not native.

jim

------------------------------
Date: Fri, 1 Nov 1996 12:25:53 -0800 (PST)
From: Paolo Valladolid <pvallado@waynesworld.ucsd.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops
Message-Id: <199611012025.MAA23408@waynesworld.ucsd.edu>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

> Paolo helps:
> >I used an Opcode Max patch that had eight delay lines, each of which
> >pitch-shifted to a different interval and each of which had it's own
> >"seed" number to multiply with the input MIDI velocity value to produce
> >a delay time.
> 
> So you choose any time into which delay you want to load and can change its
> "seed" number and Feedback while playing and stay synced between all delay
> lines, if you want. Yes?

With my particular patch, no, but Max would let you add whatever "objects"
you need to do the job. For example, a fader object to adjust the
"seed" for each delay line could be connected.  If you fail to find a Max
object in the included object library supplied with Max to do a particular
job, you can write up your own in C.  Last I heard, there was a substantial
repository of Max objects programmed by Max enthusiasts, but I forgot the
ftp location.

> The Notebook and the price of the program is a drawback for whom uses it
> for this only. Ofcourse you record and organized the instruments too,
> handy.

What I gather from the community of interactive computer music folks is
that Max is a great tool for prototyping interactive music systems.  Some of
them then go and program their systems in a faster language like Forth, 
after using Max to quickly build a prototype.

The Powerbook is nice for its portability, which is a big plus for live 
performance.  Last I heard, all five members of the computer music band
The Hub had switched to Powerbooks as the computer of choice for live
computer music because of the portability and the ability to run Max.

> Well, for my music, I am not interested in using MIDI. It reduces
> expression too much for my taste. Probably even ZIPI would have been little
> intuitive.
> But:
> ** I think it would be great to use similar tools and codes in audio- and
> MIDI loops so we can play together, transfer, synchronize easily. **

My professor is not interested in using his trombone to trigger synthesizers
directly via MIDI.  Rather, he is interested in using the computer as
an improvisational partner which analyzes his playing and formulates
a response instead of attempting to reproduce his phrases exactly (actually
his program is also capable of initiating its own improvisations without
any input from its human partner).  So while audio looping technology has the 
advantage of greater sonic expression, MIDI-based interactive technology
is currently more capable of real-time analysis of an incoming stream of
notes from a human musician.  When the two can come together it will be
an exciting time indeed.


Paolo Valladolid
-----------------------------------------------------------------
|Moderator of Digital Guitar Digest, an Internet mailing list   |\ 
|for Music Technology and Stringed Instruments                  | \
-----------------------------------------------------------------  |
\ finger pvallado@waynesworld.ucsd.edu for more info             \ |
 \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html            \| 
  -----------------------------------------------------------------

------------------------------
Date: Fri, 1 Nov 1996 15:31:25 -0500
From: KILLINFO@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops
Message-ID: <961101153124_134984729@emout12.mail.aol.com>

Hi there.

I thought I'd inquire if there were any midi looposts out there that are
familiar with an older program called JamFactory by the now defunct (I
believe) Intelligent Music company.

It's an algorhythmic composition tool that allows you to record up to four
different musical parts, patterns or motifs (via midi) of variable and
indepentent length (according to RAM amount). And then play about with them
as they repeat, causing them to evolve and change into something new and
different in deliberate or random ways over the course of time.

Once created these patterns can be repeated, mixed, morphed, sliced, diced,
and transmogrified beyond all recognition (ad infinitum) in a very
interactive way. And, the entire mixing, morphing process can be then
recorded globally as what is refered to in the manual as a "movie" of all of
the activities  of the opperator. 

It's a rather interesting program that seems to be little known anymore. I
was wondering if any of the rest of you had heard of it. It's quite fun to
play with if you ever get a hold on a copy. I got it second-hand myself from
another composer friend.

Ted Killian

------------------------------
Date: Fri, 1 Nov 1996 13:15:35 -0800
From: improv@peak.org (Dave Trenkel)
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Loops
Message-Id: <v01510100aea0174dee0e@[128.193.5.180]>
Content-Type: text/plain; charset="us-ascii"

>> ** I think it would be great to use similar tools and codes in audio- and
>> MIDI loops so we can play together, transfer, synchronize easily. **
>
Absolutely. I had very high hopes for the latest version of Studio Vision
Pro, to be able to deal with audio events much the same as MIDI,
unfortunately it isn't as stable on my machine (Powermac7100/66) as Deck.

>My professor is not interested in using his trombone to trigger synthesizers
>directly via MIDI.  Rather, he is interested in using the computer as
>an improvisational partner which analyzes his playing and formulates
>a response instead of attempting to reproduce his phrases exactly (actually
>his program is also capable of initiating its own improvisations without
>any input from its human partner).  So while audio looping technology has the
>advantage of greater sonic expression, MIDI-based interactive technology
>is currently more capable of real-time analysis of an incoming stream of
>notes from a human musician.  When the two can come together it will be
>an exciting time indeed.
>
This sounds an awful lot like George Lewis and his Voyager system. Is it?

________________________________________________________
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: Fri, 1 Nov 1996 13:15:41 -0800
From: improv@peak.org (Dave Trenkel)
To: Loopers-Delight@annihilist.com
Subject: re:Hello and intro
Message-Id: <v01510101aea0184a2988@[128.193.5.180]>
Content-Type: text/plain; charset="us-ascii"

>I play 6 string electric bass as my primary instrument.  I was a guitar
>player first, but prefer to do the bulk of my looping with electric bass
>both 4 and 6 string.  I have on occasion used small Moog analog synths
>(micro Moog, and prodigy) in loops.  I also do binaural Dat recordings of
>various sources, musical, mechanical, and environmental.  Traffic to
>Helicopters to people to frogs.  I enjoy sound and _noises_.  I'm not
>alone in this, among you, I suspect.
>
Nope. I'm also a 6-string bass/analog synth/found sound type of guy, though
my synth tastes are more ARP and Sequential. Welcome aboard.


________________________________________________________
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: Fri, 1 Nov 1996 19:39:50 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: BRACE YOURSELVES!!!
Message-Id: <v01520d01ae9ff30f1256@[200.254.32.110]>
Content-Type: text/plain; charset="us-ascii"

>Matthias said something about music being a ritual act, thus, there is
>something lost in the recording.  I feel this way too (although I also love
>recordings!)  ...but there' s nothing like a LIVE performance!

YEEES!! And I love recordings, too. Even though something is lacking, there
is a lot.

I do not think I will be able to take a plain to the first LOOP FESTIVAL :-(

Move well and record it for me!
Matthias

------------------------------
Date: Fri, 1 Nov 1996 16:41:39 -0600 (CST)
From: Dave Stagner <dstagner@icarus.net>
To: Loopers-Delight@annihilist.com
Subject: Acoustic sound and looping
Message-ID: <Pine.LNX.3.93.961101162459.1086A-100000@icarus.icarus.net>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Fri, 1 Nov 1996, Matthias Grob wrote:

> 
> >Matthias said something about music being a ritual act, thus, there is
> >something lost in the recording.  I feel this way too (although I also love
> >recordings!)  ...but there' s nothing like a LIVE performance!
> 
> YEEES!! And I love recordings, too. Even though something is lacking, there
> is a lot.

Not only is there nothing like live, there's nothing like purely
acoustic.  Amplifiers and speakers (much less processors) do horrible
things to sound.

I had the pleasure of seeing the Tibetan Institute for the Performing
Arts in a reasonably good hall on wednesday (if they come anywhere
near you, do NOT miss them!)  Two things struck me about the
performance.  The first was the wonderful immediacy of live human
voices, simple percussion, and almost primitive horns, with no
amplification.   What a marvelous sound.

The second thing ties to looping.  Tibetan music uses percussion in a
very different way from what we are generally accustomed to.  The
sound sometimes comes, not in precise beats, but rather in waves.
Here's a neat thing they sometimes did... when playing small hand
cymbals, the performer would hold one flat and steady in one hand, and
"bounce" the other on it.  It was an effect not unlike the sound of a
dropped coin spinning as is settles down.  It was rhythmic, but in a
different way.  

This appealed to me because of some things I like to do myself while
looping.  One is to try to make complex percussive sounds that aren't
necessarily "beats", that is, obvious subdivisions of the tempo.  I'm
sure all of us have experienced this just by playing a note at the
wrong time, and after a while it sounds "right".  The other, related
thing is to try to set up sound that rises and falls in intensity in a
regular way, without relying on a beat.  The Tibetans have learned to
do these things and more with very simple instruments.

And speaking of acoustic looping, a small aside... are there any fans
of Balinese music here?  Balinese music generally consists of simple
patterns of varying lengths, played on percussive instruments with a
very simple, four note scale.  Robert Fripp and Adrian Belew were
heavily influenced by Balinese music during the 1980s King Crimson
period.  

(another aside... a few years ago, I found a set of windchimes based
on a Balinese rather than Western scale.  Most windchimes are tuned to
a Major 6add9 chord.  The stacked thirds are so syrupy it almost makes
me ill to hear them for long.  My four-note Balinese chimes are tuned
on a stack of fifths, GDAE.  Harmonic relationships are dominated by
fifths and seconds, with NO thirds.  I *love* them!  I often sit on
the back porch with my acoustic guitar, just playing along and
reacting to the sound of the chimes)

-dave

By "beauty," I mean that which seems complete.
Obversely, that the incomplete, or the mutilated, is the ugly. 
Venus De Milo.
To a child she is ugly.       /* dstagner@icarus.net */
   -Charles Fort              

------------------------------
Date: Fri, 1 Nov 1996 16:18:38 -0800
From: studio seventeen productions <ambient@adnc.com>
To: Loopers-Delight@annihilist.com
Subject: tunings
Message-Id: <199611020018.QAA05579@barley.adnc.com>
Content-Type: text/plain; charset="us-ascii"

this caught my eye:

>Tunings:
>
>Anybody out there using unusual guitar tunings to cover up the lack of bass in
>your loops?  I've been trying several variants of tuning in 5ths (eg FCGDAE,
>DAFCGD or GCGDAE, low-high) which give very lush-sounding chords but can be a 
>nightmare when it comes to playing single-note lines (hence the 4th in the
bass 
>on the G-E tuning, my current fave).  Anyone else have similar experiences?
>

I now only play in RF's new standard tuning for guitar.  In conjunction with
using the new tuning, I also make extensive use of various pitch devices so
I can access both very high and very low tones.  

So, if I take the time, I can really cover a large spectrum "pitch-wise".
And having the low C as a starting point helps too...



dave at studio seventeen

173451681734516817345168173451681734516817345168

*               *  *  *  *  *    I'll be downstairs if you need me.  I'll
still be 
*                  *     downstairs if you DON'T need me.       
*                          *         (Mr. Blint, Consequences/Godley & Creme)
*                        *
*                      *

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

173451681734516817345168173451681734516817345168

------------------------------
Date: Fri, 1 Nov 1996 16:21:29 -0800
From: studio seventeen productions <ambient@adnc.com>
To: Loopers-Delight@annihilist.com
Subject: frightening if true
Message-Id: <199611020021.QAA05632@barley.adnc.com>
Content-Type: text/plain; charset="us-ascii"

>This would have four independent inputs and outputs, stereo looping
>ability
>of up to six (or was it eight) minutes using standard 72 pin simms, and
>too
>many other features to recall.
>

Into the future...........


dave
173451681734516817345168173451681734516817345168

*               *  *  *  *  *    I'll be downstairs if you need me.  I'll
still be 
*                  *     downstairs if you DON'T need me.       
*                          *         (Mr. Blint, Consequences/Godley & Creme)
*                        *
*                      *

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

173451681734516817345168173451681734516817345168

------------------------------
Date: Fri, 1 Nov 1996 16:26:08 -0800
From: studio seventeen productions <ambient@adnc.com>
To: Loopers-Delight@annihilist.com
Subject: interesting thoughts...
Message-Id: <199611020026.QAA05680@barley.adnc.com>
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>>Concerts possibly without musicians, the music being played by the audience
>>itself, starting out from initial conditions set by a composer, and evolving
>>like a living being.

interesting thought...but (as usual) Matthias reply rings truer to me:

>Nono, it takes an artist to create art. Accident is great, but only if an
>artist interpretes it. Public envolvement is fun but not satisfactory,
>lacking straightness or purity or something.
>I may be totaly wrong here, would need to see the result.

me too!

it would STILL be interesting to see if a "non-artist" or "non-musician"
audience could indeed "compose" something of merit using this method.

i guess (as I think Matthias does too) that it would be more cacophony thatn
anything...........

very interesting.





dave (at 17)

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*               *  *  *  *  *    I'll be downstairs if you need me.  I'll
still be 
*                  *     downstairs if you DON'T need me.       
*                          *         (Mr. Blint, Consequences/Godley & Creme)
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visit: http:www.adnc.com/web/ambient/index.html
seventeen: the ambient music page

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------------------------------
Date: Fri, 1 Nov 1996 16:49:16 -0800
From: finley@ecst.csuchico.edu (Matthew F. McCabe)
To: Loopers-Delight@annihilist.com
Subject: Re: BRACE YOURSELVES!!!
Message-Id: <v01530500aea0135cfde9@[132.241.248.43]>
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>So what do you people think?  Is there sufficient interest and ability
>among those of us on the West Coast to try to arrange a regional meeting
>and performance?  Who would be into it?  Where would be the best location,
>both in terms of travel logistics and in terms of finding an appropriate
>venue?  For that matter, what sort of venue should we consider?

Sounds like a great idea to me.  We should definitely consider recording
the results.....at least for the participants personal enjoyment.

I'm up in Northern California (Chico actually).....somewhere in the Bay
Area would be nice (LA is a mighty long drive).

Matt

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