------------------------------
Loopers-Delight-d Digest				Volume 97 : Issue 108

Today's Topics:
  Re: loopness monster                  [ Chris Chovit <cho@newdream.net> ]
  Re: Let The Power Fall...             [ Paolo Valladolid <pvallado@wayneswo ]
  Various/Digitech                      [ KRosser414@aol.com ]
  Re: loopness monster                  [ Kim Flint <kflint@chromatic.com> ]
  Re: Let The Power Fall                [ "mmason"<mmason@faulkcomp.com> ]
  Re: Various/Digitech                  [ "kim corbet" <kcorbet@mail.smu.edu> ]
  Re: What do they hear???              [ Paolo Valladolid <pvallado@wayneswo ]
    [  ]
    [  ]
    [  ]
    [  ]
    [  ]
    [  ]
    [  ]
  Vortex's for Sale                     [ Phil Diem <pdiem@edcen.ehhs.cmich.e ]
  Unidentified subject!                 [ Mario De Bock <mario.debock@rug.ac. ]
  Re: Vortex's for Sale                 [ miguel.barella@poyry.com.br (MAT) ]
  Re: Vortex's for Sale                 [ "Marc Roche" <govinda@cyber-dyne.co ]
  Loopist                               [ sarajane@tmbsbbs.com (Sarajane) ]
  Let The Power Saw                     [ sarajane@tmbsbbs.com (Sarajane) ]
  Re: Loopist --> Venues                [ "Matt McCabe" <mattm@bi-tech.com> ]

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------------------------------
Date: Tue, 8 Jul 1997 10:27:35 -0800
From: Chris Chovit <cho@newdream.net>
To: Loopers-Delight@annihilist.com
Subject: Re: loopness monster
Message-Id: <v03010d05afe81f833018@[192.150.34.253]>
Content-Type: text/plain; charset="us-ascii"

Bryan Helm wrote:

>Some "new age"
>business
>locals ( chiropractors, birthing centers,) utilize this style of music
>to enhance
>their office atmosphere, but live performance is of limited need or
>use.Indeed
>as I think about it ,my last live gig was 2 years ago this coming
>October for an
>artist's reception at a gallery in Denver. I suppose that this vexation
>in booking
>gigs is ongoing for all artists dealing in esoteric styles, but
>sometimes it
>seems that the devices we use can create an uneasy aspect for the
>audience
>to appreciate as being a "live" performance.  Unique textures we love,
>simply
>don't always translate to someone who simply wants to see you "play"
>your
>instrument , and there are a surprising number of these people out
>there.

I know this feeling.  Years ago, my brother and I played at a Halloween
"installation" at the Claremont colleges.  Dressed in costume, we created a
collage of spooky sounds using guitars and synths, all while strange slides
were being projected on the wall behind us.  Personally, I thought the
occasion (ie. Halloween) and the music and the slides fit really well
together.  However, there were many people in the crowd (loud, obnoxious,
beer-drinking types) who could not stand there and listen to such sounds.
They kept shouting "Come on, lets have a jam -- play some songs".

Now, I'm not claiming that my ebowed, delayed guitar textures are the
greatest thing since sliced bread...but there IS an expectation by many
people, whereupon if you are standing in front of them with an electric
guitar, they expect you to break out a blues jam or at least some display
of "technique" or "music" that they are familiar with.

Anyways, we responded to this situation by ignoring these people and
continuing on with our amorphous sounds (needless to say, we did not get a
lot of audience appreciation) -- but I realized: For a performance to
succeed (from both the performer's and the audience's perspective) the
music must be appropriate for that particular time, place, situation, AND
audience.

Now when Jimi Hendrix played his guitar with his teeth, or set it on fire,
as a part of his performance -- it worked!  That is, it worked at Monterey
and Woodstock, but I'm sure we can all think of hundereds of venues and
situations where he would have gotten thrown off stage.  Nowadays, any
joker with a strat & Marshall amp, playing 500 notes per minute can satisfy
a typical rock audience.  But what audiences are available for us loopers?
Well, that is the question we have to answer, and in part, I think we have
to CREATE our own situations and audiences.  That is, we need to find out
what works, and build upon that until....maybe some day....we will be
playing LOOPAPOLOOZA's (that's a great one, Bryan!) or filling stadiums for
loop performances.  That is, perhaps, sound spaces will become a standard
of expectation among certain audeiences.

This leads me to question what the FUNCTION(s) of loop music is...A culture
formed around rock music, because rock concerts performed a function:
whether it was to allow someone to achieve a mental and emotional epiphany
in a concert setting, or whether it allowed a teenager to get out of the
house and "break rules", etc....In any case, the rock concert performed a
function -- and it seems to me that this was initially driven, or at least
facilitated by the TECHNOLOGY.  That is, we didn't have any rock concerts
until electric guitars and high-powered guitar amps were invented.  Then,
Cream and The Who (etc..) did what they did and it took off from there.

The same thing has happened in the electronic music arena.  Low-cost synths
and drum machines of the '80s "facilitated" the rave scene of the '90s.
So, what will low-cost, high audio-quality looping devices "facilitate" in
the years to come?  That is for us to create.  Bryan, you seemed to have
experimented in almost every type of venue/setting....Which ones worked?
Why do you suppose it worked?

IMHO, looping devices are good for the following functions/settings:

1.  Inner reflection -- meditation.  I don't mean to sound New-Agey, but,
as in rave music, repetition is condusive for this.  Sometimes I sit
listening to my own loops for hours, and can be good for self-reflection
and encourages feelings of being "present".

2.  Performer -- audience interaction.  Since the performer can get loops
going, then have some time to do other things -- perhaps creating ways to
get feedback (ie. sounds, signals, etc.) from the audience, real-time, and
incorporate them into the performance.

3.  As Bryan, suggested, combining sounds with other mediums, perhaps even
having them "interact" with each other.

4.  Installation settings, where the music is not the prime focus.

Just some ideas...thanks for your post Bryan, and don't lose faith in your
music, just because your audiences aren't ready for it! It is up to us to
create the transition from loud, crowded, alcohol-laden rock festivals to
________________ (please fill in the blank).

- Chris

P.S.  Put me down for 2 of the hand-held, portable loopers!







---------------------------------------------------
AVIRIS Experiment Coordinator
mailto:avec@gomez.jpl.nasa.gov
http://makalu.jpl.nasa.gov/html/avdep.html
Lab:   (415) 604-2172
Pager: (888) 415-4547
---------------------------------------------------

------------------------------
Date: Tue, 8 Jul 1997 17:12:00 -0700 (PDT)
From: Paolo Valladolid <pvallado@waynesworld.ucsd.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: Let The Power Fall...
Message-Id: <199707090012.RAA10799@waynesworld.ucsd.edu>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

Speaking of Fripp...

I kind of like what he said about music labeling:

"I call my music 'rock' because you can play anything and get away with
calling it 'rock'"

When I get around to recording the ethno/electronica/jazz/you-name-it
music in my mind, I think I'll call my music "rock" too. ^_^


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: Tue, 8 Jul 1997 11:33:15 -0400 (EDT)
From: KRosser414@aol.com
To: Loopers-Delight@annihilist.com
Subject: Various/Digitech
Message-ID: <970708113200_-1024660261@emout10.mail.aol.com>

The duos I was doing with Don Prestonat Lumpy Gravy in L.A. which I informed
this list about have been discontinued.  Don bowed out of the whole weekly
series due to lack of attendance.  

>>- player and  "listener" are SAME person.

The state of music would be so much better if this were true most of the
time...

>>- only boring people can be bored . . . (by anything)

You've never been bored by ANYTHING?  What an excruciatingly relentless
parade of excitement your life must be...you need to watch more television,
my friend 

>>- don't worry . . . play music YOU want to hear . . .

Worrying won't get you anywhere, I agree, but I think if you only play music
YOU want to hear you must come to terms with the reality that it's possible
ONLY YOU will be compelled to hear it.  If you can accept that, fine.
 There's also an oft-cited philosophy that just about anything can find at
least a small audience if it's marketed right (which I agree with to some
extent), so if you're trying to make any kind of profession out of it,
recognize you'll have to become your own marketing department to a
proportional degree, IMHO the least attractive aspect of being a musician
(even if a necessary evil...)

On a more characteristic 'gear-oriented' note, I noticed in some advance
promotional literature from Digitech that they are about to unleash the
XP-300 "Space Station" onto the world, which has a set of features called
Sound On Sound, amongst other things.  I smell a low-budget, simple (if
somewhat limited) looping device here.  Anyone know more about this?  This
new XP series has some nice features as far as low-cost, user-friendly,
performance-friendly, easily-portable devices go.  There are a series of
effects you can scroll through by footswitch, each of which has one parameter
adjustable by a rocking pedal.  I've owned the XP-100 Whammy/Wah for a few
months thinking it'd be a nice toy to throw in the mix occaisonally and have
ended up carting it to just about every gig I've done recently, from rock to
jazz to free-improv/ambient to Persian pop music, etc and it never fails to
provoke GAS* in my fellow musicians....

I have no affiliation with Digitech unless they wanna start giving me
stuff...

Ken R

*I have always known this as "Gear Acquisition Syndrome"

------------------------------
Date: Tue, 08 Jul 1997 18:34:42 -0700
From: Kim Flint <kflint@chromatic.com>
To: Loopers-Delight@annihilist.com
Cc: Loopers-Delight@annihilist.com
Subject: Re: loopness monster
Message-Id: <2.2.32.19970709013442.00a1355c@pop.chromatic.com>
Content-Type: text/plain; charset="us-ascii"

At 10:27 AM 7/8/97 -0800, Chris Chovit wrote:
> It is up to us to
>create the transition from loud, crowded, alcohol-laden rock festivals to
>________________ (please fill in the blank).


....loud, crowded, alcohol-laden loop festivals!  Yes! Sign me up for that one!

kim
________________________________________________________
Kim Flint		       408-752-9284
Mpact System Engineering       kflint@chromatic.com
Chromatic Research             http://www.chromatic.com

------------------------------
Date: Tue, 08 Jul 97 20:18:34 -0600
From: "mmason"<mmason@faulkcomp.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Let The Power Fall
Message-Id: <9707088684.AA868411996@fsmtp.faulkcomp.com>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

     Various people wrote:
     
     >> I wish... Ifinally got "Let The Power Fall" t'other day and was 
     utterly >> disappointed.  I was expecting more variety of tones (ie 
     more than one!), >> as on the GP soundpage "Easter Monday" or the 
     performances in Wimbourne >> Minster for a BBC documentary.  I'd 
     really like to take this one back - >the
     >> whole "beyond Fripp" argument seems more and more meaningless... > 
     >Might I remind you that the Let The Power Fall material is quite a 
     bit >older than the current Soundscapes material, and also more than 
     minimalist >in comparison.  As a rough outline/example of looping 
     guitar, if not also >an introduction to such work, I think it excels.  
     There is no levels of >complexity to plow through to figure out "how 
     it's done", frankly; and, as >minimalist tone poems, I've always liked 
     LTPF myself.
     >What exactly were you looking for in this album, to be so 
     disappointed?
     
     Well, both the documentary and soundpage featured much richer 
     textures, which I was expecting - though both were a _bit_ later than 
     LTPF, maybe '84.  Certainly pre-Soundscapes!  He was using a Roland 
     Gtr synth, but also electric and acoustic guitars.  As an example of 
     looping, agreed, it's great; as a peice of music I wasn't impressed.  
     Your point on "minimalist tone poems" is a good one, though;  perhaps 
     I'm listening to the work with the wrong ears (so to speak).
     I'll give it another go.  To those who know the peices I'm talking 
     about - mid-80's Frippertronics - has he released anything with wider 
     varieties of tones?
     ______________________________________________________________________
     
     I comment:
     
     I really dig LTPF! I got it used at Hastings about a year ago. When I 
     first heard it I though "What crap! Doesn't even sound like guitars!" 
     But, I listened to it more and more, and now it one of my fave 
     records. I think that its the ultimate chill-out music. Soundcapes are 
     great too, but I find Frippertronics more organiac, interesting, and 
     enjoyable. Its purty cool to turn it up really loud, sit back, and 
     just listen to Robert construct his "tone poems". Really beatuiful 
     stuff. 
     On the subject of Frippertronics gear: LTPF was recorded in '79. I 
     don't think that Fripp was using guitar synths at that time. I've seen 
     lots of pix of him performing Frippertronics live, and hes just using 
     his Les Paul Custom. I don't think that those early Roland synths used 
     special pickups that you could just install on any guitar. Im pretty 
     sure you had to use the guitar controller that came with the synth. I 
     think the GR300 on looked like a strange Gibson SG. You can see them 
     in various pix of Fripp and Belew, on the "Bruford and the Beat" 
     video, and on the "Live in Japan '84" video. Also, in a interview with 
     Fripp that is on the ELephant Talk website, the interviewer asks some 
     questions about Frippertronics, and Fripp tells all the gear he uses. 
     This is what he said:
     
     Frippertronics is defined as that musical experience which results at 
     the (intersection) of Robert Fripp and a small and appropriate level 
     of technology which is my Les Paul, the Fripple board, the Fripp pedal 
     board of fuzz, wah-wah and volume pedals and two Revoxes.  
     
     Some of the sounds on LTPF sure sound like guitar synth but.....Im not 
     sure. I don't know about the mid 80s stuff though. Never heard it.
     
     Wow! I contributed something!
     
     Jay or Boris
     mmason@faulkcomp.com

------------------------------
Date: Tue, 8 Jul 97 21:37 CDT
From: "kim corbet"  <kcorbet@mail.smu.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: Various/Digitech
Message-Id: <m0wlmda-000Fm9C@post.cis.smu.edu>
Content-Type: text/plain; charset="us-ascii"

> I have no affiliation with Digitech unless they wanna start giving me
> stuff...
> 
> Ken R

......hey, I like that, the indirect approach.  You know, I absolutely 
love inspiring and entertaining a mess o peops 2-3 times aweek with my 
digitech, boss, studio 21, fender, modulus, shure, SWR, mackie, alesis, 
clavia, emu and roland gear.  And, hey, those JBL speakers are so clear, 
clean and durable.  They're great for any application.  Just perfect.  
Did I ever tell ya about the time some cowboy spilled a whole beer into
one of the Eons.  I opened it up, swabbed and dried it out...good as new.
I thought it was toast, but it sounded better than ever.  JBL's the best
thing between me and my audience.

Shipping address available on request................the spork kim   

------------------------------
Date: Tue, 8 Jul 1997 16:44:13 -0700 (PDT)
From: Paolo Valladolid <pvallado@waynesworld.ucsd.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: What do they hear???
Message-Id: <199707082344.QAA10599@waynesworld.ucsd.edu>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

> most.  In fact, New Age music buyers are oftem more likely to make impulse
> purchaces than people shopping from the Rock/Pop section, hence more sales.

I found CDs by Anthony Braxton and Sun RA in the New Age section at 
the local Tower Records. ^_^

Torn's CDs are clearly marked "File under Rock" yet they still turn up in
the Jazz section...

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: Thu, 10 Jul 97 01:16:42 -0000
From: Phil Diem <pdiem@edcen.ehhs.cmich.edu>
To: <Loopers-Delight@annihilist.com>
Subject: Vortex's for Sale
Message-Id: <m0wmBYS-000RW0C@edcen.ehhs.cmich.edu>
Content-Type: text/plain; charset="US-ASCII"

Hi

My name is Phil Diem and I am a newbie to the list. I'll be joining in 
the conversation on a broader level in the near future.

FYI: The Music Box in Detroit, MI (810-263-1994) recently advertised 
Lexicon Vortex's @ 
$329 - high, I know - but if ya just gotta have one...

I phoned them on 7/8 and was told that they had 6 or so "new in box" and 
when queried emphatically said they would not discount the $329. When ask 
about Jammen they laughed.

If anyone on the list knows where a Jamman might be found - even @ a high 
price - just gotta have one...

phil

------------------------------
Date: Thu, 10 Jul 1997 13:00:31 +0200
From: Mario De Bock <mario.debock@rug.ac.be>
To: Loopers-Delight@annihilist.com
Subject: Unidentified subject!
Message-Id: <3.0.1.32.19970710130031.006bbfa4@allserv.rug.ac.be>
Content-Type: text/plain; charset="us-ascii"

Hi,

Thanks for the response to my question re. availability of the Jamman. 

a.o. I got the following address : http://www.netbutler.com/boomerang

It would be nice to have some feedback from guitar players who are using
the 'Boomerang'.
>From the description on the web page it looks very nice!

Mario. 

------------------------------
Date: Thu, 10 Jul 1997 11:09:16 +0400
From: miguel.barella@poyry.com.br (MAT)
To: <Loopers-Delight@annihilist.com>, 
    Phil Diem <pdiem@edcen.ehhs.cmich.edu> 
Subject: Re: Vortex's for Sale
Message-ID: <00002229.@poyry.com.br>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit
Content-Description: cc:Mail note part

     There are Jamman and Vortex "new in the box" here in S. Paulo Brazil.
     
     Price is about US$ 400 or 450 for the first. You will also have 
     shipping costs.
     
     If you are really interested you may contact me and I will forward the 
     request to the music shop (they don't speak english).
     
     Regards,
     
     Miguel


___________________________ Separador de Resposta ______________________________
Assunto: Vortex's for Sale
Autor:  Phil Diem <pdiem@edcen.ehhs.cmich.edu> na INTERNET
Data:    10/07/1900 1:16


Hi
     
My name is Phil Diem and I am a newbie to the list. I'll be joining in 
the conversation on a broader level in the near future.
     
FYI: The Music Box in Detroit, MI (810-263-1994) recently advertised 
Lexicon Vortex's @ 
$329 - high, I know - but if ya just gotta have one...
     
I phoned them on 7/8 and was told that they had 6 or so "new in box" and 
when queried emphatically said they would not discount the $329. When ask 
about Jammen they laughed.
     
If anyone on the list knows where a Jamman might be found - even @ a high 
price - just gotta have one...
     
phil
     
     

------------------------------
Date: Thu, 10 Jul 1997 07:48:25 -0700
From: "Marc Roche" <govinda@cyber-dyne.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Vortex's for Sale
Message-Id: <199707101450.HAA17597@marge.cyber-dyne.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Hi Phil,

Just gotta have one?  I'll sell you my Jamman with one pedal and 32 sec
expansion memory installed for $500 plus shipping.  That's $50 more than I
got into it.  I know I'll regret letting go of it. Let me know if you're
interested. Ciao, salaam.

----------
> From: Phil Diem <pdiem@edcen.ehhs.cmich.edu>
> To: Loopers-Delight@annihilist.com
> Subject: Vortex's for Sale
> Date: Wednesday, July 09, 1997 6:16 PM
> 
> Hi
> 
> My name is Phil Diem and I am a newbie to the list. I'll be joining in 
> the conversation on a broader level in the near future.
> 
> FYI: The Music Box in Detroit, MI (810-263-1994) recently advertised 
> Lexicon Vortex's @ 
> $329 - high, I know - but if ya just gotta have one...
> 
> I phoned them on 7/8 and was told that they had 6 or so "new in box" and 
> when queried emphatically said they would not discount the $329. When ask

> about Jammen they laughed.
> 
> If anyone on the list knows where a Jamman might be found - even @ a high

> price - just gotta have one...
> 
> phil
> 

------------------------------
Date: Thu, 10 Jul 1997 15:51:34 GMT
From: sarajane@tmbsbbs.com (Sarajane)
To: loopers-delight@annihilist.com
Subject: Loopist
Message-Id: <970710100005197@tmbsbbs.com>

In response to Chris Chovit's post regarding past venue success,
 and in particular his inquiry as to what gigs seemed to work best
 for me: Well... I don't know how one would gauge the relative
 "success" of one gig over another. Money earned(fee paid, tapes
 sold) , audience response, personal level of comfort( no gear
 malfunction or theft) ,perceived quality of music created(recorded
 or not), return booking offered, some or all of  these factors
seemingly
 come into play in the evaluation process. I would guess that for me
 the most rewarding work has been installation or multi-media in
 nature. I've done music for 3 short computer animation pieces
(2 in 1986 for the Cranston- Csuri lab at Ohio State: "The Blue Chair"
and "Images"), and these works have received far more exposure
 than any other solo work I've done(paid better too). Gallery gigs are
 nice in that you're not  the sole focus of attention, which I believe
allows people an opportunity to suspend their disbelief about anything
 to do with your "playing" or technique, and get on with enjoying the
 installation as a whole. The standard coffeehouse crowd has been
kind of a mixed bag, it varies greatly due to factors you can't always
 readily discern (the ambient noise factor from food and drink prepar-
ation will have a direct effect on your choice of dynamics). I would
 also add that Paul Mimlitsch's recent suggestion to allow audience
 members to join you on stage and "in loop" , as to improve your
 relationship with the crowd, is in my experience a very bad tact to
 take, and will only serve to lessen any  respect as a performer you
 may have managed to establish (assuming it's your gig and not
 "open stage-loop jam night"). As a rule people's perceptions of
 modern music is jaded at best, and your sitting there amidst your
boxes and cables seems to antagonize the "shut up and play yur
 guitar" mentality that is bound to be present to some degreee
( no disrespect meant to Frank Z.).
All these observations are subjective ,and currently nerve racking
 in that I am actively contemplating a series of live performances.
 However the sage advice on this matter is that of Robert Fripp,
who would probably suggest that you  book a gig in the toughest
 place in town, so as to get on with your development as a musician,
 no excuses. If you're intuitive enough to figure out what the audience
 actually wants and how they hear your music, then you would be
better off fiscally to channel that level of insight towards picking a
 few winning lottery numbers. I'm not discouraged, just realistic about
 the only species on the planet with the money to buy the tickets
 (or recordings).

                                                Bryan Helm
                                                Loop, Looper, Loopist

------------------------------
Date: Thu, 10 Jul 1997 15:50:06 GMT
From: sarajane@tmbsbbs.com (Sarajane)
To: loopers-delight@annihilist.com
Subject: Let The Power Saw
Message-Id: <970710100005196@tmbsbbs.com>

This discussion has reminded me of my initial reaction to the LTPF
 album many years ago( when vinyl was the best format available).
 I had started listening to Fripp in the mid 70's and first saw him with
 Peter Gabriel in spring of 1977 (where he played mostly offstage ,
 billed as Dusty Roads). As an aspiring guitarist myself the blistering
 shredfest of fierce exactitude that typified the usual R.F. solo was of
 supreme importance in my musical listening pursuits. The consequent
 Frippertronics tour of 1979 was a hard one to access for me, though I
 spoke with people who had seen the record store appearances and a
 hotel room show even. Robert even appeared on The Midnight Special
 thanking the producers in a short prologue and then dedicating the loop
 piece he was to do, in the name of "hazard". Needless to say the style
 in which he would construct a loop and then solo over it was becoming
 standard, in as much as this music could be refered to as that.
My next opportunity to see him was summer of 1980 with the League of
Gentleman tour(opening band Gaga w/ Adrian Belew), still in my mind
 some of his most earnest live guitar work to date(the studio album was
 listless, the more recent live CD release captures the spirit much
better).
 Anyway by the time LTPF was released in 1981, I was jonesing to hear
 those gigs I had missed in 1979. Imagine my surprise when the album
only contained the audio from the tape loops themselves, not a solo to
 be found. The logistics of the tour were articulated in a series of
articles
 Fripp wrote for Musician magazine so I really shoudn't have been
 surprised by the fact that the reel to reel loop tapes were the only
"official" record of the event( it was him and a driver, thatwas it).
Still
 I was bummed....until one day I was listening to the album at my soon
 to be wife's house, when the Deadheads next door fired up their radial
power saw. BINGO! It was the perfect counterpoint (my wife agrees and
 she is usually more melodically inclined). Ever since that day I have
 been unable to listen to the album without the subconscious aural
 image of a power saw ripping through the loops. This question of what
 people expect to hear when they purchase R.F.'s work is ongoing to
 this day, whether it be live or a  recording there are "unsettled" ears
 appraising his playing or his balance in the mix. If you want to hear
 him shred on disc I would recommend the aforementioned live
 League of Gentlemen CD or the live Sylvian/Fripp Band CD "Damage"
 (the latter features Soundscapes also). For my money the most
dissapointing work in public release by Fripp is the Soundscapes Live
 in Argentina CD....don't get me started.

                                                     Bryan Helm
                                                     Techno Primitve
                                                     Tantrum Boy

------------------------------
Date: Thu, 10 Jul 1997 10:57:14 -0700
From: "Matt McCabe" <mattm@bi-tech.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Loopist --> Venues
Message-Id: <199707101804.LAA00847@gw1.bi-tech.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

> From: Sarajane <sarajane@tmbsbbs.com>

> In response to Chris Chovit's post regarding past venue success,
>  and in particular his inquiry as to what gigs seemed to work best
>  for me: Well... I don't know how one would gauge the relative

My best experience performing loopmusic was last summer during the green
show for Shakespeare In The Park (a local theater company).  The setting
was perfect.....nice cool summer evening, beautiful park, and people from
many different backgrounds (okay...they all like Shakespeare) spread out on
the grass, some eating, some talking, some listening.  I played a variety
of different loop textures...some with melodic lead hooks, others without. 
The response was positive...people clapped and a number approached me after
the show with questions and comments.  "That was so relaxing."  "This
setting is perfect for your music."  "What do you call it?"  "How do you do
that?  "Do you use a keyboard?"  Etc., etc., etc. 

Matt

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