------------------------------
Loopers-Delight-d Digest				Volume 97 : Issue 126

Today's Topics:
  Re: Midi standards                    [ "Matt McCabe" <mattm@bi-tech.com> ]
  Re: enticing subjects part 1          [ BlkSwan03@aol.com ]
  Re: Midi standards                    [ Jonathan Brainin <jbrainin@interact ]
  Re: Midi standards                    [ Sean Echevarria <sechevar@PureAtria ]
  Re: LOOPING PHILOSOPHY (condensed)    [ The Man Himself <altruist@shoko.cal ]
  Fela                                  [ improv@peak.org (Dave Trenkel) ]
  tyrannical ambient front              [ sarajane@tmbsbbs.com (Sarajane) ]
  Re: Midi standards                    [ Jonathan Brainin <jbrainin@interact ]
  Re: Midi standards                    [ Kim Flint <kflint@chromatic.com> ]
  Fela : RIP                            [ andre <andre@monmouth.com> ]
  One, Two... ?                         [ "Stephen P. Goodman" <sgoodman@prim ]
  Re: Fwd: Re: Echoplex upgrade         [ Kim Flint <kflint@annihilist.com> ]
  Re: LOOPING PHILOSOPHY (ad infinitum  [ Kim Flint <kflint@annihilist.com> ]
  Re: Midi standards                    [ "Matt McCabe" <mattm@bi-tech.com> ]
  Re: Midi standards                    [ "Matt McCabe" <mattm@bi-tech.com> ]

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------------------------------
Date: Mon, 4 Aug 1997 16:35:16 -0700
From: "Matt McCabe" <mattm@bi-tech.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Midi standards
Message-Id: <199708042333.QAA00872@gw1.bi-tech.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

> From: Sellon, Bob <bsellon@lexicon.com>

> While I can appreciate Kim's emotion over our apparent misuse of the MIDI
  
> Program Change message, I'm still not convinced that it was an entirely
bad   
> decision. Our decision to use Program Change messages for operational > >
commands was made  entirely for the benefit of our customers. At the time >
JamMan was released there were precious few MIDI foot controllers available
and it > seemed like the  ones that were reasonably priced only transmitted
program > change messages. Our   
> intent was to provide extended control of the JamMan for people on a
tight   
> budget and I think we did that.

And this works fine *if* you have a *dedicated* foot controller for the
JamMan.  If you already own a foot controller that was designed, primarily,
to change patches on another effects processor (case in point, the GSP-2101
and Control One foot controller) you are out of luck if you desire to use
the controller to control *both* units simultaneously.  Granted, you *can*
use the controller if you don't mind changing patches on the 2101
everything you punch in and out of a loop -- but this isn't the best
arrangement.  In fact, it sucks.

(The obvious answer is to remap the foot controller so that certain patches
don't transmit to the 2101...unfortunately...last time I tried, there was
no way to do this.  You see, the foot controller gets its power from the
2101.)

> requires going into an edit mode and tweaking. My experience has been   
> that most musicians don't want to have to tweak at all (many don't even
like   
> MIDI much less care about what messages are being sent). They want to
plug it   
> in and have it work. Done.

So basically, while catering to the lowest common denominator, Lexicon's
design choice has made it difficult for musicians you *use* MIDI to
integrate the JamMan into their MIDI-ifed rig without adding additional
foot controllers.

Alas.  I still like my JamMan.

Matt

------------------------------
Date: Mon, 4 Aug 1997 21:47:54 -0400 (EDT)
From: BlkSwan03@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: enticing subjects part 1
Message-ID: <970804214220_-1940853054@emout13.mail.aol.com>

In a message dated 8/4/97 7:29:35 PM, you wrote:

<<I took the empty open box (without its lid), put it upside down on a very
smooth stony surface, and moved it along, pressing a little which produced
a sad, unstable sound a little bit like a muffled trumpet. For a few
seconds I could produce a stable pitch which then broke into pieces. >>

This sounds so cool!   Reminds me of something Adolf Wolfi would do while
creating away in the institution he was locked up in in Switzerland.    There
must be many stories out there like this.

Jim    Portland  OR

------------------------------
Date: Mon, 04 Aug 1997 21:48:13 -0400
From: Jonathan Brainin <jbrainin@interactive.net>
To: Loopers-Delight@annihilist.com
Subject: Re: Midi standards
Message-ID: <33E6865D.6747@interactive.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Matt McCabe wrote:

> And this works fine *if* you have a *dedicated* foot controller for the
> JamMan.  If you already own a foot controller that was designed, primarily,
> to change patches on another effects processor (case in point, the GSP-2101
> and Control One foot controller) you are out of luck if you desire to use
> the controller to control *both* units simultaneously.  Granted, you *can*
> use the controller if you don't mind changing patches on the 2101
> everything you punch in and out of a loop -- but this isn't the best
> arrangement.  In fact, it sucks.

Actually, there is a relatively simple solution.  For about $275
new/$150 
used, you can buy a JL Cooper MSB+ Rev2.  This pup can store 75 separate 
midi presets.  It can filter midi messages, merge 'em, bump 'em (and
grind
em?)  One preset could send program change from foot controller to
GSP2101
only, while another sends programs change only to the Jamman.  Simple!

Now the _real_ challenge comes when trying to control 2 Jammans with one 
foot controller.  

BTW, the MSB+ is a 1U box that has 8 midi ins and 8 midi outs for
extensive 
control of your midi routing.  I've outgrown mine.  I now use JL
Cooper's 
Synapse, a 2U box with 16 midi ins and 20 midi outs.

Anybody want to buy a used MSB+ for $150?  (Why should I hoard mine?)

Keep looping,
Jonathan Brainin
jbrainin@interactive.net

PS., I'd much prefer to control my Jammans with CC or than with Program
Change messages.  Much easier to avoid conflict between different
devices.

------------------------------
Date: Mon, 04 Aug 1997 19:00:43 -0700
From: Sean Echevarria <sechevar@PureAtria.COM>
To: Loopers-Delight@annihilist.com
Subject: Re: Midi standards
Message-Id: <3.0.1.32.19970804190043.0096aaf0@pure.pureatria.com>
Content-Type: text/plain; charset="us-ascii"

At 09:48 PM 8/4/97 -0400, see my signature wrote:
>Actually, there is a relatively simple solution.  For about $275
>new/$150 
>used, you can buy a JL Cooper MSB+ Rev2.  This pup can store 75 separate 
>midi presets.  It can filter midi messages, merge 'em, bump 'em (and
>grind
>em?)  One preset could send program change from foot controller to
>GSP2101
>only, while another sends programs change only to the Jamman.  Simple!

1 - so you need another footpedal to change the MSB+ presets which will
redirect your primary midi controller pedal appropriately to the GSP or
jamman?

2 - forgetting about the above point, for the money you may as well buy a
dedicated program change footpedal for the jamguy and keep it on its own
MIDI chain

------------------------------
Date: Mon, 4 Aug 1997 19:22:42 -0700 (PDT)
From: The Man Himself <altruist@shoko.calarts.edu>
To: Loopers-Delight@annihilist.com
Subject: Re: LOOPING PHILOSOPHY (condensed)
Message-ID: <Pine.SGI.3.91.970804190654.2997B-100000@shoko.calarts.edu>
Content-Type: TEXT/PLAIN; charset=US-ASCII

It keeps on comin'!

On Mon, 4 Aug 1997 pycraft@elec.gla.ac.uk wrote:

> >But again, the "sensibilities" that are at work with a guitarist are an
> >intangible, organic, built-in thing, and they're there from the crack of
> >the cosmic DNA.  
> 
> Woah, I think there may be a touch of overemphasis on that point. 
> I _do_ understand where you're coming from, in that I find
> synths etc sort of "isolating" instruments where I don't have enough
> control over the sound, like I do with guitar.  
> But that has nothing to do
> with the quality of music produced.

I agree -- I'm not saying that guitar-based music is fundamentally better 
than computer-based music.  Here's (yet another!) different perspective 
on it: If you want to tweak a sample, you have to put it through a series 
of external apparati and processes which are part of a seperate and 
ditinct entity from who and what you are.  If you've playing a guitar, 
then this process happens automatically -- it's "hard wired" into your 
system.  (Too bad it's harder to get a good upgrade!)

> Andre, you mentioned in another post that you would be playing in coming
> gigs with a guitar synth.  If this is anything post '88 or so, you are
> fundamentally _playing_with_samples_.  

It's a Roland GR-50 which I believe came out around 1988, using LA
synthesis which was supposed to take the best aspects of digital and
sample-playback synthesis, and by most accounts (in that particular unit
at least) wound up getting all the worst aspects instead... 

> OK the samples are short sections of
> sampled intrument waves, but samples nonetheless.  Now we get to a second
> question - how long does a sample need to be before it ceases to be the
> DJ's own creation?  :)

The way I see it is this: If you've got individual samples of drum 
sounds, waveforms in a sample-playback synth, etc, there's no inherent 
musical phrase there, unless you're triggering a factory loop.  It's not 
as if there's a segment of somebody else's performance loaded into the 
thing, which will fly forth at the push of a button.  It's still up to me 
(or whoever) to actually create the music.

And in the mea culpa department, there *are* some factory-loaded loops in
the GR-50 memory, which I'll probably be using in my solo gigs.  How do I
justify this in light of the last 5,000 posts I've made?  A combination of
reasons, mostly having to do with sheer terror at an impending solo
residency without my main looping axe.  But in my own defense, I'd also
have to say that these loops aren't available in the factory presets; they
have to be user-tweaked, and I've spent some time doing some serious
tampering with them to get them to the point where they are right now. 

Which is exactly what all the pro-DJ arguments have been advocating all
along, I know.  Is this an atom bomb-sized hole in my whole argument?  
Could be.  All I know is that my conscience gets a bit tweeked when I 
trigger one of those loops.  Guess I'll have to wait and see what happens 
at the gigs...

--Andre

------------------------------
Date: Mon, 4 Aug 1997 19:35:44 -0800
From: improv@peak.org (Dave Trenkel)
To: Loopers-Delight@annihilist.com
Subject: Fela
Message-Id: <v01510102b00bf4960014@[128.193.5.54]>
Content-Type: text/plain; charset="us-ascii"

I just learned that Fela Anikulapo Kuti, Nigerian musician, bandleader and
activist died friday in his sleep. This is pretty devastating for me, as
Fela occupies a place in my musical universe equivalent to Miles Davis, Sun
Ra or Coltrane. I had the privilige of seeing him several times, a
traditional African ensemble I played with opened for a few dates on his
1990 west coast tour. I never actually met him, his entourage pretty well
discouraged any shmoozing, though the members of his band that I met were
exceptionally nice.

Fela's music, while played on conventional instruments, is certainly
loop-based: densely-layered, tight interlocking modal grooves played by a
killer band. Listening to "Original Sufferhead" this morning, I was struck
by how similar the groove was to a Chemical Brothers groove. Fela's
recorded pieces are great examples of how to get maximum impact out of
minimal materials, often building 10-20 minutes of music out of a 2 chord
vamp, a few polyrhythms and a *really* shredding horn section. Robert Wyatt
was once quoted as something like, "Fela is my favorite arranger, he only
has one arrangement, but it always works."

And of course, there was his politics, which got him imprisoned, got
members of his family killed, and from which he never retreated. Fela
always lived what he sang, unlike too many other so-called political
artists.

________________________________________________________
Dave Trenkel : improv@peak.org  : www.peak.org/~improv/

"...there will come a day when you won't have to use
gasoline. You'd simply take a cassette and put it in
your car, let it run. You'd have to have the proper
type of music. Like you take two sticks, put 'em
together, make fire. You take some notes and rub 'em
together - dum, dum, dum, dum - fire, cosmic fire."
                                            -Sun Ra
________________________________________________________

------------------------------
Date: Tue,  5 Aug 1997 01:33:13 GMT
From: sarajane@tmbsbbs.com (Sarajane)
To: loopers-delight@annihilist.com
Subject: tyrannical ambient front
Message-Id: <97080422000376@tmbsbbs.com>

Caution: The following remarks are by a card carrying member
of the "Tyrannical Ambient Front". Those easily offended by the
lack of respect given to tradional musical logic, should avert their
gaze now................or read on, and gather new scorn.

With all due respect to the recent astute and insightful comments
made by Kim & Andre and others on the issue of ambience, wait!
You've forgotten the extremely quiet and unobtrusive subject that
you chose to discuss initially. Don't take offense, everybody does
it. I don't remember the last time I read any print media relating to
supposedly "ambient music" that didn't immediately veer of into
little more than a lame discography with no discussion of the genre's
history. Once "new age" came along as a catch all (featuring well
behaved synthesizers,audiences, and sales figures) then critics
could sweep those pesky musical innovators passive and static
alike, under the new age rug. That a style of music that seeks to,
"mingle with the sounds of knives and forks at the dinnertable"-Satie
or be"as ignorable as it is listenable"-Eno ,should find itself unable
to articulate it's concerns as they relate to it's being an evolving
musical style, is not surprising. But their is over 100 years of work
between Satie and Eno, by a wide array of artists who have utilized
traditional and electronic means of composition to archive
explorations into sonic spaces never heard before. Even the
seemingly most obtuse  and difficult (stylisticly) composers have,
hidden in their catalogue, a work of a passive or contemplative nature.
 For that matter musical works that approach a truly ambient
 sensability have existed in cultures worldwide for thousands of years,
but the concert bootlegs are hard to find and crowd noise is crowd
noise. A whole list of styles that fall within the "avante garde"
have contributed pioneering techniques and devices that have
 slowly made new textures and sounds part of the modern global
 village. The impact of loop technology one hundred years hence
on this planets music could be astounding. Will the really striking
 and popular musical styles that use this technology be seen as
 owing a debt of gratitude to the ambient explorers of old?....I doubt
it,
 pop eats itself ....However that doesn't diminish the value  of the
 ambient contingent. Good ambient music is as totally interactive with
both a listening space and the events that occur in that space as it
 can be while anticipating the thresholds of audience perception.
The question of what constitutes too much or not enough musical
activity to qualify as being "ambient" simply constrains the possible
 variations of venue for performance of a musical style that seeks to
 gauge it's technique to an entire performance space and time in
a more sympathetic fashion than most traditional music.
Which is not to say that a good group or performer can't "move"
 with the mood of the room from snoring to frantic and back, should
the spirit move them all. I guess what I mean to say is that
 sometimes "heavy metal" tonalities are the correct texture to create
 an ambience appropriate for a particular space and time and as
such the "ambient" label actually covers every possible style that
 could ever be mislabeled. As you can see this "ambience" thing
is..well..
everything and nothing at all and what with it's place secure in the
 historical development of "loop" oriented music..why, you have
nothing to fear from them old ambient hounds hangin around the
 loop porch. Whose to say that if we filled a stadium with loop-
technology users from around the world that they wouldn't all split
 into seperate camps anyway, they could prove all too human in
that respect. Being a 39 yr old white male self employed at poverty
level wages with a wife and 2 kids, limits my fiscal clout ,but not my
 desire to see music fully embrace the possibilities of new
technologies, new ears to hear it and interpret it's meaning..and
think of what to call it.
                             I'm shuttin up.... and pluggin in...
                                                    Bryan Helm
P.S. I wanted to recommend
again to anyone interested in
the issue of ambience, a book
titled "The Tuning of The World"
by R. Murray Schafer 1977 published
by Alfred A. Knopf

------------------------------
Date: Mon, 04 Aug 1997 23:58:22 -0400
From: Jonathan Brainin <jbrainin@interactive.net>
To: Loopers-Delight@annihilist.com
Subject: Re: Midi standards
Message-ID: <33E6A4AE.8C5@interactive.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Sean Echevarria wrote:
> 
> At 09:48 PM 8/4/97 -0400, see my signature wrote:
> >Actually, there is a relatively simple solution.  For about $275
> >new/$150
> >used, you can buy a JL Cooper MSB+ Rev2.  This pup can store 75 separate
> >midi presets.  It can filter midi messages, merge 'em, bump 'em (and
> >grind
> >em?)  One preset could send program change from foot controller to
> >GSP2101
> >only, while another sends programs change only to the Jamman.  Simple!
> 
> 1 - so you need another footpedal to change the MSB+ presets which will
> redirect your primary midi controller pedal appropriately to the GSP or
> jamman?

I dunno.  I personally find no problem using my index finger on the 
switches on the faceplate.  (Although I could use one of the 3 Fatar
footswitches I've got laying around for scrolling presets also.)

> 2 - forgetting about the above point, for the money you may as well buy a
> dedicated program change footpedal for the jamguy and keep it on its own
> MIDI chain

Not practical at all for my rig.  

I use a Roland GP-100 controlled by a Roland FC-200 foot controller.
The same foot controller controls both of my Jammans as well as my
Eventide GTR4000 _and_ my pair of Soundsculpture Studio Swichblades.
The JL Cooper boxes make this possible.  I've got 12 different midi 
devices (13 if I include my computer.)  A MSB+ or a Synapse is an
absolute requirement for keeping them all functioning as I wish.

(I've thought about multiple foot controllers but floor space is 
finite.)


However, if you've got a simple midi rig, a PC only pedalboard works
great with the Jamman.  

What do you do though when you have more than one Jamman?  
(Aside from giving one to someone who does not yet possess one.)

Jonathan

------------------------------
Date: Mon, 04 Aug 1997 21:11:42 -0700
From: Kim Flint <kflint@chromatic.com>
To: Loopers-Delight@annihilist.com
Cc: Loopers-Delight@annihilist.com
Subject: Re: Midi standards
Message-Id: <2.2.32.19970805041142.00977abc@pop.chromatic.com>
Content-Type: text/plain; charset="us-ascii"

At 07:00 PM 8/4/97 -0700, Sean Echevarria wrote:
>At 09:48 PM 8/4/97 -0400, see my signature wrote:
>>Actually, there is a relatively simple solution.  For about $275
>>new/$150 
>>used, you can buy a JL Cooper MSB+ Rev2.  This pup can store 75 separate 
>>midi presets.  It can filter midi messages, merge 'em, bump 'em (and
>>grind
>>em?)  One preset could send program change from foot controller to
>>GSP2101
>>only, while another sends programs change only to the Jamman.  Simple!


>2 - forgetting about the above point, for the money you may as well buy a
>dedicated program change footpedal for the jamguy and keep it on its own
>MIDI chain

Actually, for that much you could buy a used footpedal that sends just about
any midi command and could probably handle both units. I got my digitech
pmc-10 for $100. It can store 500 presets! It even has a midi in, which in
addition to letting you back up and restore, can also do midi filtering and
merging if you need it. Heck, it even sends sysex! Back in the old days,
people actually thought it might be useful for a footpedal to handle more
than a micro-subset of the midi spec. But then, they also thought guitar
players might be smarter than a lump of clay. Good thing those ideas got put
down! Jeez, you can't make a buck that way!  :-) 

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

------------------------------
Date: Tue, 5 Aug 1997 01:38:49 -0400 (EDT)
From: andre <andre@monmouth.com>
To: Loopers-Delight@annihilist.com
Subject: Fela : RIP
Message-Id: <199708050538.BAA02598@shell.monmouth.com>
Content-Type: text/plain; charset="us-ascii"

At 07:35 PM 8/4/97 -0800, you wrote:
>I just learned that Fela Anikulapo Kuti, Nigerian musician, bandleader and
>activist died friday in his sleep. 

oh my god!! that's quite a shock ?? how old was he ?? early/mid 50s ??
Strange/funny - i had just just thought a lot about Fela, having NOT thought
of him in ages - but reading up on the new Eno at some website - several
quotes from mr Eno - lauded Fela - and he said how he had TONS of his
albums. - This caused me to think how lame i was for only having 1 or 2
??@!!!!! But, having heard quite a few of 'em... then i actually wondered
where he was, what doing, etc. Very strange. And sad.

anyone unfamiliar with this man - check it out... another GENIUS , yes, the
comparisons to Miles, Sun Ra, etc are right on.... Talking heads from Remain
in light to the next 3-4 albums would not exist without him and his
hybrid.... there's a great album he did in like 1970 with ginger baker
also... whew. another one gone. our counter culture is dying. we must
preserve it.

andre'
>

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++100% positive !!


"Nothing will benefit health and increase the chances of survival on earth
as the evolution to a vegetarian diet"

- Albert Einstein

"Let food be thy medicine, and medicine be thy food"
"Physician, do no harm"

- Hippocrates, who doctors somehow take an oath on....

check out my natural food store website>>
http://www.monmouth.com/~secondnature

------------------------------
Date: Mon, 4 Aug 1997 23:09:06 -0700
From: "Stephen P. Goodman" <sgoodman@primenet.com>
To: <Loopers-Delight@annihilist.com>
Subject: One, Two... ?
Message-Id: <199708050609.XAA23308@usr10.primenet.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

> also... whew. another one gone. our counter culture is dying. we must
> preserve it.

On this I must then invoke William Burroughs, dead this past Saturday at
83.  Ce la.  And if you think we don't owe HIM something, well... [shrug,
shaking head]

Stephen Goodman       * Download The Loop Of The Week and more! 
EarthLight Studios       * http://www.earthlight.net/Studios
*---------------------------------------------------------------------------
- ----------------------------

------------------------------
Date: Tue, 5 Aug 1997 00:27:42 -0700
From: Kim Flint <kflint@annihilist.com>
To: Loopers-Delight@annihilist.com
Subject: Re: Fwd: Re: Echoplex upgrade
Message-Id: <v03102800b00c838d9f60@[207.171.196.149]>
Content-Type: text/plain; charset="us-ascii"

>so does this mean that the upgrad is not user installable?

I think they are selling a user installable version, but I'm not totally
sure. Sometimes there are liability problems with that sort of thing. It's
just a couple of eproms to pop into sockets, so it's pretty simple. Maybe
you can get it through a dealer. You might want to ask Dean about that.

I think if you send it in they make sure all the hardware is working right
and any engineering changes that have been made get done on your unit. So
maybe it's a pretty good deal; you get more than just the software that way.

>also , is
>there any way to fix one part of an led that isn`t working?...in the # on
>the far right where the time counts while making a loop , part of that #
>doesn`t light....anyone?

You probably should just replace it. If you are handy with a soldering iron
and can find a seven segment LED that matches the one in there, it's not
too difficult. Otherwise, maybe its a thing to have Oberheim do if you send
it in for the upgrade.

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com

------------------------------
Date: Tue, 5 Aug 1997 01:48:02 -0700
From: Kim Flint <kflint@annihilist.com>
To: Loopers-Delight@annihilist.com
Subject: Re: LOOPING PHILOSOPHY (ad infinitum)
Message-Id: <v03102801b00c86985663@[207.171.196.149]>
Content-Type: text/plain; charset="us-ascii"

I'm not going to bother replying to all the megabytes this thread has
generated. In some sense I'd like to, and I'm sure I'd enjoy flaming Andre
into a whimpering cinder, but I don't even have time to read it all let
alone reply! So I guess it's a debate I lose by attrition...:-)

It all begs one question, really. And I guess this is the main reason I'm
not motivated to get into such a discussion. Simply, what is the purpose?

When you try to debate the validity of one means of creative expression
versus another, what are you really trying to do? It seems to me that there
is another level to the discussion, a larger motivation. What would be the
goal of winning such a debate? If you successfully prove to the world that
one means of expression is inferior, what would your next step be?

And why is it that the PurestFormOfCreativity is always, by some
coincidence, remarkably similar to that of it's proponent in the debate?
Have you ever seen such a discussion where someone vigorously argued that
their own artistic methods were clearly inferior to all the rest?

I think the most difficult step in such a process is the one where you step
out of the debate and out of yourself, look back in, and question your own
motivations. Tough questions to ask yourself, and you need to do it
honestly. I know, I've had to do it plenty of times! You have to deal with
your own ego, and your confidence in yourself, and the inherent fear of
self-expression. And if you're like me, you'll be left still ashamed of
comments made 12 years ago that only you remember.

The question of which artistic method is most creative and experessive,
which holds the greatest validity, has no answer. It's a pointless and
self-serving argument. These debates have raged through artistic and
academic communities for all eternity, and they never end in a positive
growth. More like isolation, alienation, suspicion. The world is not black
and white, its full of a whole spectrum of color. And: a full range of
sounds! There is no right way to create. There is no wrong way. No better
way, no worse way. Just other ways. Different colors and sounds.

When we come across someone using a different method than our own, let's
not take the path of boosting ourselves by putting them down. See it as an
opportunity to learn. How does their method help them to express
themselves? What are their artistic goals? How do they get there? What can
we learn from that? Let's use the opportunity we have here to gain from
each other.


....one sermon and a couple of rants. My quota is filled for the week.....

kim

______________________________________________________________________
Kim Flint                   | Looper's Delight
kflint@annihilist.com       | http://www.annihilist.com/loop/loop.html
http://www.annihilist.com/  | Loopers-Delight-request@annihilist.com

------------------------------
Date: Tue, 5 Aug 1997 07:33:56 -0700
From: "Matt McCabe" <mattm@bi-tech.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Midi standards
Message-Id: <199708051432.HAA08179@gw1.bi-tech.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

> From: Sean Echevarria <sechevar@PureAtria.COM>
 
> At 09:48 PM 8/4/97 -0400, see my signature wrote:
> >Actually, there is a relatively simple solution.  For about $275
> >new/$150 
> >used, you can buy a JL Cooper MSB+ Rev2.  This pup can store 75 separate

> >midi presets.  It can filter midi messages, merge 'em, bump 'em (and
> >grind em?)  One preset could send program change from foot controller to
> >GSP2101only, while another sends programs change only to the Jamman. 
Simple!

> 2 - forgetting about the above point, for the money you may as well buy a
> dedicated program change footpedal for the jamguy and keep it on its own
> MIDI chain

My feelings exactly!!!  Wouldn't this scenario make more sense if Lexicon
made/sold foot controllers!!! ;-)

Matt

------------------------------
Date: Tue, 5 Aug 1997 07:38:01 -0700
From: "Matt McCabe" <mattm@bi-tech.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Midi standards
Message-Id: <199708051436.HAA08229@gw1.bi-tech.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

> From: Jonathan Brainin <jbrainin@interactive.net>

> Actually, there is a relatively simple solution.  For about $275
> new/$150 
> used, you can buy a JL Cooper MSB+ Rev2.  This pup can store 75 separate 
> midi presets.  It can filter midi messages, merge 'em, bump 'em (and
> grind
> em?)  One preset could send program change from foot controller to
> GSP2101
> only, while another sends programs change only to the Jamman.  Simple!

How does this work?  Are you using the Control One?  I'm assuming that in
order for this to work, you have to plug the foot controller into the MSB+
first.  How do you power the Control One then?  It gets it's power from the
2101.

> PS., I'd much prefer to control my Jammans with CC or than with Program
> Change messages.  Much easier to avoid conflict between different
> devices.

Ditto!!

Matt

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