------------------------------
Loopers-Delight-d Digest				Volume 97 : Issue 109

Today's Topics:
  re: record stores                     [ erik reid simpson <eriks@on-ramp.io ]
  Re: Re: Loopist                       [ PMimlitsch@aol.com ]
  Re: Looping on the computer           [ Dpcoffin@aol.com ]
  No more echoplex in Switzerland *HEL  [ Claude Voit <c.voit@vtx.ch> ]
  Re: record stores                     [ Jim Coker <jcoker@interaccess.com> ]
  Whaddya call it? and Attention        [ Warren Sirota <wsirota@wsdesigns.co ]
  Re: Let The Power Saw                 [ The Man Himself <altruist@shoko.cal ]
  Re: Re: Loopist                       [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ]
  Re: Whaddya call it? and Attention    [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ]
  Re: Let The Power Fall                [ Paolo Valladolid <pvallado@wayneswo ]
  Re: loopness monster                  [ matthias@bahianet.com.br (Matthias  ]
  "Let the Flower Eat Paul"...          [ PainPete@aol.com ]
  Pet the Shower Stall                  [ future perfect <artmusic@gte.net> ]
  Echoplex oddness check: Any voluntee  [ The Man Himself <altruist@shoko.cal ]
  Sustain and music?                    [ Olivier Malhomme <malhomme@infobiog ]

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------------------------------
Date: Thu, 10 Jul 1997 14:42:40 -0700
From: erik reid simpson <eriks@on-ramp.ior.com>
To: Loopers-Delight@annihilist.com
Subject: re: record stores
Message-ID: <33C55750.62A5@on-ramp.ior.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

> well if you are going to pay $20 for a CD, "Polytown" is one that is worth
> it,,i have found alot of good CD deals from ordering online,,,i mean some
> hard to find used and new ones, our little local world music etc CD store
> went belly up due to the effects of a Blockbuster music opening about a
> block away,,,Blockbuster is slack,and expensive,,,of course i dont eat at
> Mcdonalds either, why pay someone to poison my body and mind with
> mediocrity? i am capable of doing that myself.
> james rhodes

I am in total agreement with this point of view. While i would prefer to
give my business to local shops, sometimes they just can't seem to find
what i am looking for. I will shop the chain stores on occasion, but
have no great loyalty to them. Online and mailorder are definite
alternatives. I found a couple Nels Cline discs i couldn't find
elsewhere through an online outfit called Soundwire (who, sadly, just
closed up shop) and a couple discs on the em:t label through Etherworld. 
Cd Now isn't likely going
anywhere soon, however, and they have alot of stuff (but not
everything). Siren disc has a good selection of import stuff, in
particular, at decent prices. The Artists House has an incredible
selection of independent, often artist-run labels. And many labels do
online/mailorder themselves; DGM, Ralph and, yes, Alchemy (hi Jon) among
many others. I have personally done business at one time or another with
every company I have listed above with excellent results across the
board. The main drawback is that you don't get the instant gratification
of plunking down your money and taking the disc(s) home to listen to
right away. But given the battle for my "disposable income" (real or
imagined, and with 2 teenage sons, imagined is much more likely), I
would rather spend it on something I actively desire rather than
something that merely SEEMS interesting. Anyway, back to lurking. 

Bye;

Erik Simpson
eriks@on-ramp.ior.com

------------------------------
Date: Thu, 10 Jul 1997 17:41:46 -0400 (EDT)
From: PMimlitsch@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: Re: Loopist
Message-ID: <970710174145_-1091839932@emout06.mail.aol.com>

Bryan wrote<< 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").>>

This suggestion was by way of providing an educational experience and not
some kind of "free for all whoever wants to come up on stage can" type of
thing. The specific scenario where this took place was as follows.-- I
sometimes go to a small local coffeehouse during slow times, such as a Sunday
afternoon, and do the ambient fly on the wall type thing for prcatice
purposes and to try out new things. This particular establishment, being in a
shopping mall, has more of a transient crowd, than say a place where people
specifically go to see a "performance".  Between doing some loops a kid and
his mother came up and inquired about the Chapman Stick I was playing. The
discussion progressed to looping and the inevitable "how do you get those
sounds?" questions. After some explanation I let her son initiate the tap
function on the Jman and took it from there. During my
explanation/demonstration to the mother/son about 15 people who had just
stopped by to pick up coffee between shopping forays had gathered and instead
of getting back to their shopping decided to hang out for another 45 minutes
or so and listen/ask questions. So what had started as a simple practice
session turned out to be a quite satisfying experience for both "the
performer" and the "audience". You could say that initially neither I nor
they had planned on taking on the role of performer or audience had it not
been for "the kid".
You're correct though.. this would not be a good idea in a true "performance"
setting for the reasons you mention.--Paul

------------------------------
Date: Thu, 10 Jul 1997 14:04:15 -0400 (EDT)
From: Dpcoffin@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: Looping on the computer
Message-ID: <970710140414_-1057973449@emout08.mail.aol.com>

...an old thread, but:
 anyone interested in real-time computer-based delay/sampling who's also got
a ppc or fast '68 mac w/Audiomedia and a lot of ram should investigate
Hyperprism from Arboretum Systems. All of Hyperprism's fx are realtime in
thru-mode, and there are several delay algorithms, with delay times based on
assigned ram.
dpc

------------------------------
Date: Thu, 10 Jul 1997 23:46:25 +0200
From: Claude Voit <c.voit@vtx.ch>
To: Loopers-Delight@annihilist.com
Subject: No more echoplex in Switzerland *HELP*
Message-ID: <33C55831.3D8A@vtx.ch>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hello everybody

I've been following your postings for a while waiting for my plex pro to
land in my favorite shop until I got the scary news No more plex
distibution in Switzerland

would you send me some USA shops adresses where some of you had good
experiences overseas shipping, cool prices, service etc...
is $650 a normal price ?
anyone's doing better ? 
Shops proposals OK

thank You 

Claude Voit

Email: c.voit@vtx.ch

------------------------------
Date: Thu, 10 Jul 1997 17:03:11 -0700
From: Jim Coker <jcoker@interaccess.com>
To: Loopers-Delight@annihilist.com
Subject: Re: record stores
Message-ID: <33C5783F.514F621B@interaccess.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

A brief comment on local record shops.  I worked for one in Evanston, IL
for a few years
while in college, and though they did stock a decent selection of
hard-to-find-items and imports,
the selection is entirely dependent on who works there (and knows what
to order), and
what the owner thinks will sell, even though I've often talked to the
owner and suggested
he carry more of such-and-such.  For my recent binges on ambient and
acid jazz CDs, I mostly have
had to resort to mail order (from Instinct and Soleilmoon).  I think
online-based mail-order
offers the best deal for those looking for something out of the
ordinary, particularly when
the site offers sound clips of what they are selling.  Labels that sell
direct on the net also have
more control over their prices.

Jim

erik reid simpson wrote:

> I am in total agreement with this point of view. While i would prefer
> to
> give my business to local shops, sometimes they just can't seem to
> find
> what i am looking for. I will shop the chain stores on occasion, but
> have no great loyalty to them. Online and mailorder are definite
> alternatives. I found a couple Nels Cline discs i couldn't find
> elsewhere through an online outfit called Soundwire (who, sadly, just
> closed up shop) and a couple discs on the em:t label through
> Etherworld.
> Cd Now isn't likely going
> anywhere soon, however, and they have alot of stuff (but not
> everything). Siren disc has a good selection of import stuff, in
> particular, at decent prices. The Artists House has an incredible
> selection of independent, often artist-run labels. And many labels do
> online/mailorder themselves; DGM, Ralph and, yes, Alchemy (hi Jon)
> among
> many others. I have personally done business at one time or another
> with
> every company I have listed above with excellent results across the
> board. The main drawback is that you don't get the instant
> gratification
> of plunking down your money and taking the disc(s) home to listen to
> right away. But given the battle for my "disposable income" (real or
> imagined, and with 2 teenage sons, imagined is much more likely), I
> would rather spend it on something I actively desire rather than
> something that merely SEEMS interesting. Anyway, back to lurking.
>
> Bye;
>
> Erik Simpson
> eriks@on-ramp.ior.com

------------------------------
Date: Thu, 10 Jul 1997 17:56:11 -0700
From: Warren Sirota <wsirota@wsdesigns.com>
To: Loopers-Delight@annihilist.com
Subject: Whaddya call it? and Attention
Message-ID: <33C584A3.A6628116@wsdesigns.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Hi. I've really enjoyed scanning the discussion about what to call this
kind of music. I think it touches on many important issues.

I recently did a performance on a friend's regional live theater/radio
show - Van Williamson's "Radio From Downtown", in the DelMarVa
(Delaware, Maryland, Virgina) area. It's kind of a "Prarie Home
Companion" radio variety show, localized for the eastern shore of
Maryland and environs. It's a 2-hour show done in a live theater with
about 125 people in the audience, which is then broadcast on local
public radio and cable access stations. The centerpiece is a humorous
radio play written by Van and performed in classic style, with about 10
performers plus foley and recorded sound effects.

Anyway, I had 2 slots of about 8 minutes each. In the first one, I only
had 4 minutes after the intro and kibbutzing. So I played one short
funky blues "naked" (I think it works best to prove that you can play
ungadgeted guitar and getting the doubt out of the way before jumping
into deeper waters). Then I played a little piece which I call
Simplicity which is just noodling over a jazzy Fm vamp - I used the
guitar synth to lay down the bass line first, then add the usual hi-hat
cliche riff, then improvise. I like to break people in gently to the
technology - they have a bit of natural resistance to technology in
music, for some reason.

In the second half, I came back with the big piece. I've got a piece
called "I Woke Up", which starts off as a text piece (I build up a poem
in the loop in a way that keeps everyone guessing what the next syllable
will be), then transforms as I put the text+other sounds loop through a
pitch shifter/delay controlled by my MIDI guitar. Then I play big masses
of sound with my guitar, but with no guitar sound for a while.
Eventually I stop.

Anyway, "I Woke Up" twisted some heads around - lots of people with jaws
dropped down to the ground. Many comments were like: "It was incredible,
but I wouldn't call it music." People had a hard time calling it music.
Maybe it isn't music. I would describe my musical and extra-musical
activities in general as "the manipulation of attention through sound",
however, that also describes radio, so it's too broad. (BTW, if you want
to keep people's attention, try working language into your pieces
somehow. We're very wired to respond to that).

In this theater performance, I asked to be billed as a "Sound Sculptor".
I also considered going for "Performance Artist".


**********************************************

Now some responses to earlier comments:

> Bryan Helm wrote:
>
> >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.

Art gallery or museum openings and events are the most logical venue for
this kind of thing. I'm not exactly sure why (Does it seem to anyone
else that the visual arts community is more open to individual
expression, abstraction and primitivism than are the music listeners?) I
did a friend's gallery opening a few months ago - just me, guitar synth,
Echoplex and free improvisation. It was perfect, and people loved it. I
also did a bunch of truly "out there" improvisations (midi loop-based,
when I was relying on my GTM-6 controller for loops) at a big Halloween
mega art-fest in SF some years ago.

Chris Chovit <cho@newdream.net> said:

> 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.

Agreed. We also need to *write pieces*. Improvisation is great and
wonderful, but people invariably respond to the more dramatic pacing and
sense of organization that planning can create.

> 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.

I don't think I can dream that big.

> IMHO, looping devices are good for the following functions/settings:
>
> 1.  Inner reflection ...
>
> 2.  Performer -- audience interaction.  ...

> 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.

#4 could be interpreted to apply to  live performances in restaurants,
museums and at cocktail parites (but be sure to not get too weird in the
restaurant!). I'd add5. web pages
6. cd-roms
7. computer desktops.


--
Yours truly,
Warren Sirota
http://wsdesigns.com/wsirota/

------------------------------
Date: Thu, 10 Jul 1997 19:47:51 -0700 (PDT)
From: The Man Himself <altruist@shoko.calarts.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: Let The Power Saw
Message-ID: <Pine.SGI.3.91.970710194523.16849A-100000@shoko.calarts.edu>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Thu, 10 Jul 1997, Sarajane wrote:

>  (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.

Oh, on the contrary, please do start!  I personally really like the 
Argentina album, and can't listen to _A Blessing of Tears_ for more than 
a few minutes.  I'd be very interested in hearing a different point of 
view.  

So much for BEYOND FRIPP...  But hey, it's been a while since we had a 
full-bore Frippathon, and it beats mulling over the finer points of SIMM 
memory.

--Andre

------------------------------
Date: Fri, 11 Jul 1997 09:53:36 +0100
From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes)
To: Loopers-Delight@annihilist.com
Subject: Re: Re: Loopist
Message-Id: <29938.199707110853@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

Paul:
>Between doing some loops a kid and
>his mother came up and inquired about the Chapman Stick I was playing. The
>discussion progressed to looping and the inevitable "how do you get those
>sounds?" questions. After some explanation I let her son initiate the tap
>function on the Jman and took it from there. 

>You're correct though.. this would not be a good idea in a true "performance"
>setting for the reasons you mention.--Paul

Didn't Roobert Fripp (anyone heard of him?  :) ) start peices on the
Frippertronics tour by asking members of the audience to randomly call out
the first few notes?

Michael

Dr Michael Pycraft Hughes  *A.C. Electrokinetics - - Viral Manipulation 
Tel: (+44) 141 330 5979    *Bioelectronic Research Centre, Rankine Bldg,
Fax: (+44) 141 330 4907    *University of Glasgow, Glasgow G12 8QQ, U.K.

------------------------------
Date: Fri, 11 Jul 1997 10:06:49 +0100
From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes)
To: Loopers-Delight@annihilist.com
Subject: Re: Whaddya call it? and Attention
Message-Id: <170.199707110906@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

Warren:


>Anyway, "I Woke Up" twisted some heads around - lots of people with jaws
>dropped down to the ground. Many comments were like: "It was incredible,
>but I wouldn't call it music." People had a hard time calling it music.
>Maybe it isn't music.
>In this theater performance, I asked to be billed as a "Sound Sculptor".
>I also considered going for "Performance Artist".

Works for Laurie Anderson.  Has she ever been categorised some other way?

>Chris Chovit <cho@newdream.net> said:
>
>> 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.
>
>Agreed. We also need to *write pieces*. Improvisation is great and
>wonderful, but people invariably respond to the more dramatic pacing and

Absolutely.  There's also a great deal of satisfaction from writing a
peice.  It seems to me that improvisation is often an excuse for not
learning material!  :)
The argument I've heard is that only through improv can we see the soul of
the performer, but in speech we can often put our most profound thoughts
across when given time to reflect and put them down  on paper, rather than
standing up and just talking.  I'l also bet the most moving poetry is not,
by-and-large, written off the cuff (please, no-one mention James Joyce).  

Dr Michael Pycraft Hughes  *A.C. Electrokinetics - - Viral Manipulation 
Tel: (+44) 141 330 5979    *Bioelectronic Research Centre, Rankine Bldg,
Fax: (+44) 141 330 4907    *University of Glasgow, Glasgow G12 8QQ, U.K.

------------------------------
Date: Fri, 11 Jul 1997 15:11:37 -0700 (PDT)
From: Paolo Valladolid <pvallado@waynesworld.ucsd.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: Let The Power Fall
Message-Id: <199707112211.PAA02540@waynesworld.ucsd.edu>
Content-Type: text/plain; charset=US-ASCII
Content-Transfer-Encoding: 7bit

In response to:

<<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. >>

During the 70s Fripp made extensive use of the EML Synthi; a primitive
synthesizer that accepts an analog input.  Fripp plugged his guitar
into this device to get the synth-like sound used in his 70s/early 80s
Frippertronics.

Pete Cosey may have used this device on one or more of the famous live
albums he recorded with Miles Davis in the early 70s.


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, 11 Jul 1997 20:29:19 -0300
From: matthias@bahianet.com.br (Matthias Grob)
To: Loopers-Delight@annihilist.com
Subject: Re: loopness monster
Message-Id: <v01520d07afe9541ff526@[200.254.32.146]>
Content-Type: text/plain; charset="us-ascii"

Chris said a lot of nice things:
>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".

I refuse to play in places where people consume beer.

>...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.

When I still played in bars, I sometimes looped a blues, which clearly was
one, but really different, especially toards the end...

>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.

...even more so, when you call it "ambient". I say in my release folder,
that I adapt my music to the place and vibes each time, but the truth is,
that for many places and vibes, I do not manage to adapt anc better leave
it.

>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.

Yes, I recorded "traveling music" in the bus station (there is no such
thing as street musician here), played in a church on saturday - the things
I love!
But there are not suficiant such oportunities here, I will have to invent
more. I thought of prison, hospital, old peoples home (how do you call
that?)...

>This leads me to question what the FUNCTION(s) of loop music is.......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.

You mean we are about at the point where The Who came in: The technology
was available and the function was invented or came out of the history of
the society. Loop technology is available and we are discussing its
purpose. The Who probably did not discuss it as we do, but this makes part
of the changes of history.


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

We have a new idea here which is called JantArte (Jantar means supper). We
invite for a chinese veg meal (body), a speach (mind) and a artistic
presentation (soul), pillows on the floor. It will happen monthly in the
Centro de Cultura Chinesa. I will tell you  how it goes.
Is that New-Agey?

>Put me down for 2 of the hand-held, portable loopers!

Oh yeah, I spend a lot of thought and dreams for those. It will happen in a
few years!

------------------------------
Date: Fri, 11 Jul 1997 22:52:56 -0400 (EDT)
From: PainPete@aol.com
To: Loopers-Delight@annihilist.com
Subject: "Let the Flower Eat Paul"...
Message-ID: <970711225256_-1944376583@emout10.mail.aol.com>

...was the title of an early non-masterpiece, by *moi*...

Other titles of my early loop attempts, also inspired by LTPF, include - 

"Let the Flounder Plummet"
"Let the Power Fizzle"
"Frippoff"
& (after I found No Pussyfooting) "The Heavenly Music Mutilation".

They were all inspired and flawed enough to work well as both homages-to and
satires-of RF. Envision lovely floating waves of liquid guitar a la LTPF,
interrupted every few minutes by a (looped) mistake, like this - 

Bzzzzzzzzz.......EEeyyyyahhhhhhhh........CLANK!!!
Bzzzzzzzzz.......EEeyyyyahhhhhhhh........CLANK!!!
Bzzzzzzzzz.......EEeyyyyahhhhhhhh........CLANK!!!
Bzzzzzzzzz.......EEeyyyyahhhhhhhh........CLANK!!!


Works great for getting battle plans out of POWs much better than fingernails
on blackboards, or other crude methods like that. Anyway - After awhile I
embraced my incompetence and came up with things more along the lines of "An
Index of Metals" after being thrown in a blender, including such unknown
classics as "Bewtixt the Electrons", "Seas of Mercury", and "No Gain, No
Pain". A bit like being thrown in a wind tunnel filled with iron filings. (I
think about half of the tape was power tools being held up to the pickups).

My favorite thing about all these silly recordings (which actually are pretty
cool in many places and I love them dearly) is that I did them on
reel-to-reel tape, so they sound oddly authentic, like Fripp was really
playing these, but after someone had dropped a safe on his hands and injected
him with novacane. I have never been able to re-create that sound since I got
better gear and practiced a lot. Now, for some reason, the new stuff sounds
like shit in some ways when compared to the old stuff, the old just seems to
have unique qualities about it that seem to have been lost in the new.
Dexterity limitations and funky gear give you so much built-in restraint in a
way (something that most guitarists don't have naturally) and with chops and
a big-ass amp comes the-guitarist-won't-shut-up syndrome, or something. (At
least I have that problem, which I just decided to call premature
Riff-jaculation).

Any other indulgent Fripp "Tribute" recordings out there? Anyone ever tried
to fool their friends with one, and gotten away with it? (I have, though I'm
not entirely sure how)!

(All rights reserved on the above titles, even if they are stupid!)

Pete

PS - Can anyone spell out any of their favorite loops phonetically, like a
comic-book sound effect word, like I just did, above? (That's a great way to
waste five minutes, and you can get some amusing results...)

------------------------------
Date: Sat, 12 Jul 1997 01:47:17 -0400
From: future perfect <artmusic@gte.net>
To: Loopers-Delight@annihilist.com
Subject: Pet the Shower Stall
Message-ID: <33C71A65.824BCC57@gte.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

> 
> Any other indulgent Fripp "Tribute" recordings out there? Anyone ever tried
> to fool their friends with one, and gotten away with it? (I have, though I'm
> not entirely sure how)!
 
I recorded one a few years ago called 'Continue..As If Nothing
Happened'.
It was 20 minutes of me playing with a 25 second reverb, with no direct
signal. I overdubbed an insanely distorted Ebow on the top, and actually
fooled a few of my friends.
Dave
-- 
********************************************************************* 
'Future Perfect' - progressive art music - visit our website at:
http://www.geocities.com/SoHo/Lofts/8082 
'If you don't know where you're going, 
you'll probably get there.' - Robert Fripp

------------------------------
Date: Sat, 12 Jul 1997 00:10:54 -0700 (PDT)
From: The Man Himself <altruist@shoko.calarts.edu>
To: loopers-delight@annihilist.com
Subject: Echoplex oddness check: Any volunteers?
Message-ID: <Pine.SGI.3.91.970711235420.4322A-100000@shoko.calarts.edu>
Content-Type: TEXT/PLAIN; charset=US-ASCII

Hi gang --

I'm experiencing some strangeness with my Echoplex, and am wondering if
any other users out there could check to see how much of the problem is a
general Echoplex trait and how much of it is my own unit. 

The problem is this: When notes are faded into or out of silence, I'm
noticing a grainy digital aliasing-type noise which occurs as the fade-in
or -out occurs.  If I watch the Input LED, this noise coincides with a
flickering of that indicator. 

Two strange(r) things: If I enter mute mode, this noise is present just as
loudly as when there's a loop running.  Secondly, when the input/loop
balance knob is turned all the way to either extreme, the noise
disappears; it is only audible when there's some mixture of loop and
direct signal. 

It's possible that this has always been there and I've never noticed it
before, but I'd like to try and check.  I have noticed some digital
artifacts in the past, but what I'm hearing seems too pronounced for it to
have eluded my detection for a year and a half.  Furthermore, the
artifacts I've previously noticed are (presumably) due to the diminished
volume at the beginning or end of these sorts of notes, and the
accompanying loss of resolution which is endemic to the digital realm. 
But since this noise is only noticable under certain circumstances, I
don't think it's a question of the preliminary input signal passing
through the A/D converters; it just about has to be something in the
post-sampling side of the signal flow. (I've been noticing some pops when
I turn the input/loop knob, so it's possible that it's a problem with my
unit). 

If anyone out there has the time and inclination to check their own units
to see if they notice this characteristic, I'd be very grateful for any
feedback.  Technical details: I'm plugging a guitar directly into the
Echoplex, which is run directly into a clean mixer; in other words, no
processing before or after the looper.  Also, the noise diminishes and
eventually disappears as the texture of the loop takes on a more
continuous sound floor, but as long as there are points in which the sound
fades either into or out of more or less complete silence, the digital
noise (which I can best describe as being akin to someone sucking liquid
through a straw) is there. 

I appreciate any feedback people can provide.  Thanks in advance,

--Andre

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Date: Sat, 12 Jul 1997 10:23:35 +0200 (MET DST)
From: Olivier Malhomme <malhomme@infobiogen.fr>
To: loopers-delight@annihilist.com
Subject: Sustain and music?
Message-ID: <Pine.SOL.3.95.970712102225.24515C-100000@lovelace.infobiogen.fr>
Content-Type: TEXT/PLAIN; charset=US-ASCII

>Paolo said
>
>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. ^_^
>
>Well I wish we could just say "music". pffiuuww.
>
>By the way, I ve lost the mail address of these nice people making the
new
>sustainiac system. Iif someone could send it to me, that would be very
>nice.
>
>And now let us try the "Coue" method:
>I have an echoplex I have an echoplex I have an echoplex I have an
>echoplex I have an echoplex I have an echoplex I have an echoplex I have
>an echoplex I have an echoplex  I have an echoplex
>
>Darn
>did not work.
>
>Olivier Malhomme

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