------------------------------
Loopers-Delight-d Digest				Volume 97 : Issue 166

Today's Topics:
  Re: Good Ole Fashioned tape looping   [ pk@mainstring.win.net (Pat Kirtley) ]
  RE: Greetings From Oberheim           [ Michael Peters <MPeters@compuserve. ]
  Re: Greetings From Oberheim           [ The Man Himself <altruist@shoko.cal ]
  Re: MIDI Light controllers            [ "Mikell D. Nelson" <mnelson@dmans.c ]
  Oberheim...                           [ Olivier Malhomme <malhomme@infobiog ]
  Re: Greetings From Oberheim           [ future perfect <artmusic@gte.net> ]
  Re: MIDI Light controllers            [ Randy Jones <ranjones@texas.net> ]
  Re: music/Scorn                       [ MIvanBerk@aol.com ]
  fourthworld: the jon hassell mail li  [ "Joseph Buck" <josephbuck@hotmail.c ]
  FS: symetrix 606 $475                 [ "Hartnett, Travis" <Hartnett#m#_Tra ]
  FS:EH 16 second $700                  [ "Hartnett, Travis" <Hartnett#m#_Tra ]
  FS Lexicon Vortex                     [ "Bruce Gerow" <bgerow@ny.tds.net> ]
  Re: FS:EH 16 second $700              [ "Peter Thompson" <pt205@cam.ac.uk> ]
  VORTEX                                [ "Bruce Gerow" <bgerow@ny.tds.net> ]
  Re: VORTEX                            [ "Julia & Dave" <jndk@colba.net> ]
  Re: VORTEX                            [ Marzzz@aol.com ]
  Jamman footswitches                   [ tbickley@artswire.org (Tom Bickley) ]
  R Fripp in London (fwd)               [ Henry Throop <throop@bogart.Colorad ]
  Re: VORTEX                            [ Randy Jones <ranjones@texas.net> ]

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------------------------------
Date: Thu, 02 Oct 1997 19:20:08
From: pk@mainstring.win.net (Pat Kirtley)
To: Loopers-Delight@annihilist.com
Subject: Re: Good Ole Fashioned tape looping
Message-ID: <1664@mainstring.win.net>

Someone commented that analog tape, and the sonic characteristics of tape
delay have a unique quality that is difficult to simulate with digital
electronics. This is true, and there is nothing like the real thing.

It isn't difficult to begin experimenting with analog tape looping. First,
go to a pawn shop or similar source and obtain a used tape machine. The
best likely candidates for looping modifications are machines with
3-head 3-motor design and electronically operated transport controls. Many
excellent and rugged machines of this type were made in the 70's and early
80's by TEAC, Tascam, Pioneer, Revox, and Akai. If you find one of these
formerly very expensive units, you will probably be able to purchase it
for $200 or less. They are now aging, but the best ones were built to last,
and can become completely operable with minor maintenance and cleanup.

There are two ways to modify the machine into a looper. Way 1 is to add
another playback head, separated from the record head by a significant
distance. Way 2 is to increase the tape-distance between the existing
record and play heads. Way 1 is described here.

If you observe the tape path, you will note that the tape is fed out
by the supply reel on the left side, first passes across the erase head,
then the record head, then the playback head, before entering the capstan
/ pinch roller assembly, and then is wound onto the takeup reel on the
right. It is not necessary to use an actual "loop" of tape to create the
audio looping function, because the audio loop is formed electronically by
feeding part of the playback head's output into the recording input.  The
concept that creates musically useful loops is a relatively wide
separation between the record and playback heads.

The easiest way to do this is to get another playback head, preferably
from a junked tape recorder (i.e. cheap). Take the playback head and mount
it on a board along with two of the tape guide-posts from the junked tape
recorder. The guide posts are necessary because the tape must cross the
playback head in a very precise alignment in order for this to work. 

Open up the head assembly on the the working tape recorder and disconnect
the wiring from the rear of the playback head. You will need a small
soldering iron to accomplish this. If you don't have one, get a techie
friend to help out. You will need to obtain a length of cable similar to
the cable you have disconnected from the playback head. It will probably
have 4 conductors and a braided shield. Ten feet is a good length to start
with (too long a cable will cause audio problems). It's got to be shielded
cable. Connect the new wire to the remote tape head, and splice to the end
of the wire in the good tape recorder. You must make sure that the
connections from the rear of the new tape head go to exactly the same
wires as the original head did. 

Position the remote tape head assembly on a solid support some distance
away from the tape recorder, to the right and at the same level as the
transport deck. Doing this works best if you have the tape recorder on
its back on a tabletop. The tape feeding out of the capstan/ pinch roller
goes out through the first extra guide, across the remote playback head,
through the second guide, and back onto the takeup reel.

You can test the new setup by putting a pre-recorded tape in place, and
listening to the output. Note: because you have altered the tape path
significantly, the machine will not work correctly in fast-forward and
rewind modes. To use these modes, remove the tape from the remote head
and let it feed through the machine normally.

To begin looping, you must establish an electronic path from the tape
machine's output to its input. The easiest way to do it is with an
external mizer. Simply include the line out of the tape machine as one of
the inputs to the mixer, and connect the mixer's output to the tape
machine input. 

You will have created a true stereo looper, and the loop-delay time is
regulated by the distance from the record head to the remote playback
head. At a tape speed of 7.5 inches/sec, 10ft of separation translates to
16 sec loop time. 5ft = 8 sec, et cetera. Cutting the tape speed in half
doubles the loop time (just like digital!). An added benefit is that your
looping creations are automatically and permanently recorded for you. 

Aside from a couple of days of scrounging around pawn shops, the project
should take only a few hours to complete. Hope this inspires some new
musical ideas, alone or in combination with modern effects/ devices. 


Pat Kirtley 

------------------------------
Date: Thu, 2 Oct 1997 20:10:17 -0400
From: Michael Peters <MPeters@compuserve.com>
To: "'INTERNET:Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Greetings From Oberheim
Message-ID: <199710022010_MC2-2299-C926@compuserve.com>
Content-Type: text/plain
Content-Disposition: inline

hi Tom,

welcome to the list!!!

>We plan on resuming manufacture of the Echoplex Digital Pro within the
>next 30 days. 

... enthusiastic shouting and opening of champaigne bottles !!!

(and please, be sure to send some of them Echoplexes to Germany!)
___________
Michael Peters   
        http://ourworld.compuserve.com/homepages/mpeters
HOP - Fractals in Motion ..."the only screen saver you'll ever want"
        http://ourworld.compuserve.com/homepages/mpeters/hop.htm

------------------------------
Date: Thu, 2 Oct 1997 19:37:43 -0700 (PDT)
From: The Man Himself <altruist@shoko.calarts.edu>
To: Loopers-Delight@annihilist.com
cc: tspauldi@gibson.com
Subject: Re: Greetings From Oberheim
Message-ID: <Pine.SGI.3.91.971002182413.7268A-100000@shoko.calarts.edu>
Content-Type: TEXT/PLAIN; charset=US-ASCII

On Thu, 2 Oct 1997, Tom Spaulding wrote:

> Hello-
> 
> My name is Tom Spaulding and I am the Product Manager for Oberheim.

Hello, Tom, and thank you for taking the time and initiative to reach out 
to some of your users here.

> I welcome all
> comments and suggestions about the Oberheim of the future, but please
> refrain from flaming me about past experience with us unless you still
> have an unresolved situation, in which case you will get an immediate
> response.

My current situation is in fact quite unresolved, but I shall refrain 
from flaming nonetheless.

The timeline of my dealings with Oberheim are as follows:  On Wednesday,
July 23, I sent my Oberheim Echoplex into the Oakland center for repair
(under the Return Authorization # 44727), along with a check for $35
dollars (since my unit is not under warranty), as per the instructions
sent to me by then-Oberheim employee Dean Fouts.  (I was also told that
this $35 would be used towards my final repair bill).  Dean informed me
that there would be a roughly four-week turnaround rate, though he advised
that this would vary depending upon the amount of work currently being
performed. 

On Friday, August 6, I sent Dean e-mail asking for any further 
information on the status of my Echoplex.

On Monday, August 18, having still recieved no reply from Mr. Fouts to my 
previous message on the 6, I sent another e-mail to him asking once more 
for any information he could provide.

On Wednesday, August 20th, I recieved an e-mail from Dean apologizing for 
the delay, and stating that he had just submitted a query regarding the 
status of my unit's repair.  

On Friday, August 29th, having resorted to phoning Mr. Fouts at the
Nashville office, I recieved a phone message from Dean stating that the
repair would be completed shortly.  I sent e-mail to him that night (the
29th) asking for details regarding the apparently soon-to-be-completed
repair, including how much the final repair bill would come to, where this
payment would have to be sent, and what the cause (and fix) of the problem
was. 

On Tuesday, September 2, Dean sent me back mail saying that my account 
was now being handled by Pat Murphy, as Mr. Fouts no longer worked for 
Oberheim.

Also on Tuesday, September 2, Pat Murphy e-mailed me to say that $45 
would take care of the repair bill; he also provided an address to send 
the check to, which I did.

On Monday, September 8th, Pat sent me another e-mail confirming receipt 
of the check.  There was a considerable "cascade" of previous letters 
below his latest message, including one from Pat which was directed to a 
"Mike" (presumably Mike Lyon); in this letter Pat metioned to Mike that, 
according to an earlier e-mail from Mike to Pat, my echoplex was to have 
been ready some time that week.

Approximately one week later, on Tuesday, September 16th, I recieved (via 
Looper's Delight) news from Ed Drake than the Oakland office had been 
closed and everything was being shipped to Nashville.  Not yet having 
recieved my Echoplex, I was not inspired by this report.

The same day (Tuesday the 16th) I e-mailed Pat Murphy asking for an 
update on my Echoplex.

On Friday, September 19th, having recieved no reply from Pat to my 
previous query for information, I called him at the Nashville office (the 
number having been provided not by him or anyone at Oberheim, but rather 
by the membership of this list).

Pat asked what the last word had been when he had gotten back to me; I
told him that he had not in fact "gotten back to me," as I had not
recieved a response from him with regards to my last question.  He
wondered aloud if he had even recieved the e-mail I had sent him; after
searching through his computer he finally found my letter.  He remarked
that he had thought he'd gotten back to me; after checking, he confirmed
my report that he had not. 

He confirmed the now widespread news of the Oakland-Gibson transit, which
I pointed out had not been brought to my attention by anyone at Gibson. 
He told me that there was a repair team standing by once the move was
completed, and that my repair job was in fact at the very top of the list. 
I then asked him why it was that I had sent a check in to him, on his
instructions, to cover repair costs when there had in fact been no repair
work yet done, and consequently no way to accurately gauge how much labor
would have to be done (and, consequently, how much it might cost).  He
said that all of their information had come from Mike Lyon in California. 
I then pointed out that I had been informed (again, by Pat) that my unit
was to have been ready earlier this week.  Pat's only explanation was that
Mike Lyon must have been lying. 

I then asked to be informed of any further developments, which he promised
would be provided.  This conversation, on Friday, September 19th, was the
last contact I had with Oberheim; as of today, Thursday, October 2, I have
heard nothing more from anyone at Gibson. 

I have, however, heard several more things regarding Oberheim and Gibson
via Loopers Delight, not the least of which is that Mike Lyon apparently
did not know about the Oakland-Gibson transit until the day it happened. 

My hope is that the aforementioned predicament is attributable more to
communication errors than to gross negligence (though based upon similar
reposrts I have heard from other Oberheim customers, I must conclude that
a certain amount of the latter is involved).  My reality at present is as
follows:  I was informed of an approximately four-week repair time for my
unit.  At present, I have waited over twice that long, have had consistent
trouble communicating with multiple employees of Oberheim, and have sent
in two cashiers checks totaling $80 (plus an additional charge of $12 to
me, on account of Gibson requiring Cashier's checks rather than personal
checks), and I don't even have confirmation that repair on my unit has
EVEN BEGUN. 

With regards to my present situation, I would of course appreciate any
information which is presently available regarding the repair of my
Echoplex.  With regards to your solicitation for suggestions regarding the
future operation of Oberheim, I would simply point out the irony of the
fact that I sent my unit to a location approximately six hours away from
me, where it sat for approximately two months (whether or not it was
worked on at all is unknown to me, and apparently to many of the customer
service represetatives at Oberheim) before being shipped halfway across
the nation.  If the repair work had taken place during a timetable even
TWICE as long as the one I was originally quoted, I would not have found
myself caught in the middle of Oberheim's housecleaning procedure. 

It also ocurs to me that, had Mike Lyon known about the impending move
some time earlier than the actual day that the move began, there might
have been some possibility of this confusion being avoided or at least
alleviated.  I don't know how much of Lyon's ignorance regarding the move
had to do with his own state of mind and how much of it had to do with the
heads of Gibson not informing him, but what I do know is that at least one
customer has found himself getting shafted as a result of company
politics, via circumstances he had nothing to do with and had to find out
about through third party sources. 

The fact that you are coming to the list to offer assistance is a good
sign, and I certainly do not hold you personally responsible for the
specific problems I have encountered with the three aforementioned
invididuals.  I look forward to any light you can shed on a solution to my
situation, as well as to any reasons why the present situation even
exists. 

--Andre LaFosse
altruist@music.calarts.edu
(818) 893-2144

------------------------------
Date: Fri, 03 Oct 1997 00:48:25 -0500
From: "Mikell D. Nelson" <mnelson@dmans.com>
To: Loopers-Delight@annihilist.com
Subject: Re: MIDI Light controllers
Message-ID: <34348729.36EE@dmans.com>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

Alice,
  This reply is going to be vague because, frankly, I just can't
remember - but... At the 1996 NAMM show I met a young woman who worked
for a company that produced a sensor employed infra-red light. The
sensor's beam could be configured and it's output could be MIDI
messages. The concept was that a dancer or musician could trigger an
event or even control an instrument with hand movements. I believe it
was capable of detecting distance, so pitch or volume, for example,
could be controlled by hand height. Sorry I can't pull the name of the
company out of my personal memory banks. Does this sound familiar to
anyone else?

Motley

------------------------------
Date: Fri, 3 Oct 1997 10:35:32 +0200 (MET DST)
From: Olivier Malhomme <malhomme@infobiogen.fr>
To: Loopers-Delight@annihilist.com
Subject: Oberheim...
Message-ID: <Pine.SOL.3.95.971003103326.27251B-100000@lovelace.infobiogen.fr>
Content-Type: TEXT/PLAIN; charset=US-ASCII

"
"(Please forgive me if this seems crass and commercial - I'm merely trying
to make contact with the power users out there)."

Which is enough rare that a manufacturer takes immediate and direct
interest in knowing who uses the product, that will be 
1) immediately forgiven
2) be welcome !

Olivier Malhomme

------------------------------
Date: Fri, 03 Oct 1997 05:23:27 -0400
From: future perfect <artmusic@gte.net>
To: Loopers-Delight@annihilist.com
Subject: Re: Greetings From Oberheim
Message-ID: <3434B98F.195D@gte.net>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

I look forward to any light you can shed on a solution to my
> situation, as well as to any reasons why the present situation even
> exists.
> 
> --Andre LaFosse
 

As someone who has not yet bought an Echoplex, but has had similar
repair-hell stories with gear by other manufacturers, this story scares
me a bit. I've heard of customer service problems with Oberheim (even
reviews on Harmony Central confirm this, as well as stories like this
one), and with current Echoplexes costing $700 or more, I wish there was
another option for looping about now that was as versatile. Andre, I
thank you for posting this story, to warn us all what *could* happen
when we spend the $700+ ( a lot of dough for us poor musician types).
Lets hope the move across the country will inspire a move to hire a more
competent customer relations/repair department. 
Dave Eichenberger
-- 
********************************************************************* 
'Future Perfect' - progressive art music - visit our website at:
http://www.geocities.com/SoHo/Lofts/8082 
"Music rears it's beautiful head
and puts you right into the rightness."- Trey Gunn

------------------------------
Date: Thu, 02 Oct 1997 18:24:24 -0500
From: Randy Jones <ranjones@texas.net>
To: mnelson@dmans.com, Loopers-Delight@annihilist.com
Subject: Re: MIDI Light controllers
Message-Id: <3.0.32.19971002182420.007dccd0@texas.net>
Content-Type: text/plain; charset="us-ascii"

Hello,

Try this site. No experience with company or product. Looks interesting
though.

http://www.infusionsystems.com/icube.htm

Randy Jones

At 12:48 AM 10/3/97 -0500, Mikell D. Nelson wrote:
>Alice,
>  This reply is going to be vague because, frankly, I just can't
>remember - but... At the 1996 NAMM show I met a young woman who worked
>for a company that produced a sensor employed infra-red light. The
>sensor's beam could be configured and it's output could be MIDI
>messages. The concept was that a dancer or musician could trigger an
>event or even control an instrument with hand movements. I believe it
>was capable of detecting distance, so pitch or volume, for example,
>could be controlled by hand height. Sorry I can't pull the name of the
>company out of my personal memory banks. Does this sound familiar to
>anyone else?
>
>Motley
>
>
>

------------------------------
Date: Fri, 3 Oct 1997 09:37:22 -0400 (EDT)
From: MIvanBerk@aol.com
To: Loopers-Delight@annihilist.com
Subject: Re: music/Scorn
Message-ID: <971003093501_555756469@emout16.mail.aol.com>

Actually, Scorn includes a lot of looped guitar stuff, courtesy of Jim
Plotkin and a DeltaLab delay.  Plotkin's new "Flux" is an interesting
guitar-loop based pop record, by the way.

mike

------------------------------
Date: Fri, 03 Oct 1997 08:21:02 PDT
From: "Joseph Buck" <josephbuck@hotmail.com>
To: Loopers-Delight@annihilist.com
Subject: fourthworld: the jon hassell mail list
Message-ID: <19971003152103.9545.qmail@hotmail.com>
Content-Type: text/plain

Hello Folks-

Well a little while ago I posted up to check the waters to see if people 
would be up for a jon hassell maillist.  I have been slightly 
overwhelmed by the responses.  there is a great deal of appreciation for 
him and his work.  
Being without an isp or knowing a wily sysadmin (any volunteers to help 
already?) means that the list has been registered at coollist, because, 
well, its free.  of course you have to put up with the little ads at the 
bottom but a small price to pay si? 
so it'll be moderated by me, and at the moment not in digest form as 
coollist is having trouble with its digest engine (any volunteers to 
help already?)
to join all this beta fun go to coollist's webpage at:
http://www.coollist.com
and go to the section- Subscribe to a Coollist mailing list:
enter the List Name : fourthworld
and Your Email : you@yourdomain.com

or e me personally and i'll tack you on myself: josephbuck@hotmail.com

thanks all.

salam,

buck

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

------------------------------
Date: 3 Oct 1997 12:23:50 -0700
From: "Hartnett, Travis" <Hartnett#m#_Travis@msgate.apple.com>
To: "Loopers Delight postings" <loopers-delight@annihilist.com>
Subject: FS: symetrix 606 $475
Message-ID: <n1336248115.53420@msgate.apple.com>
Content-Type: text/plain; Name="Message Body"

Remember the groovy looking 606?  Appeared to be a Vortex with full
MIDI, more tweakable.
>From Harmony Central:

symetrix 606 delay fx machine

Asking Price: US$1500
Condition: Excellent
Age: N/A
Description:

       if you havent heard of it check
       out last monthes issue of futre
       music this is an impresive machine
       great sounding delay with 8 knobs
       on it for tweaking delay parameters
       full midi implementation this is a serious
       delay box $475

Seller: james bowman, 3304342926
E-mail: joekidd@raex.com
Post Date: 10/2/97

------------------------------
Date: 3 Oct 1997 12:25:08 -0700
From: "Hartnett, Travis" <Hartnett#m#_Travis@msgate.apple.com>
To: "Loopers Delight postings" <loopers-delight@annihilist.com>
Subject: FS:EH 16 second $700
Message-ID: <n1336247995.58280@msgate.apple.com>
Content-Type: text/plain; Name="Message Body"

>From Harmony Central:


EH 16 second delay $700

Asking Price: US$700
Condition: Excellent
Age: N/A
Description:

       The rare and desirable 16 second delay by Electro Harmonics,
       has forward and reverse modes, up to 16 sec delay, modulation
       and built in metronome. Fripp in a box (he used one). This one
       is in excellent shape. $700

Seller: Charles Pogan, (518)877-6459
E-mail: newlab@aol.com
Location: CLIFTON PARK, NY
Post Date: 10/2/97

------------------------------
Date: Tue, 30 Sep 1997 02:21:15 -0400
From: "Bruce Gerow" <bgerow@ny.tds.net>
To: <Loopers-Delight@annihilist.com>
Subject: FS Lexicon Vortex
Message-Id: <199710032345.SAA12725@mail.tds.net>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Thats right,the real thing,Lexicon Vortex for sale.The rack module ONLY.No
power supply (needs 9v @ 1A  50-60hz).No foot switch or cable,No manual
(but if you really need it I can copy it off the web and print it out for
you).One corner of the rack mount is broken (I have heard of this happening
before on another unit I saw advertised on the net).Price is firm at $165.
plus shipping and COD costs (ship from central NY).Email me if interested.
	LooseBRuce

------------------------------
Date: Sat, 4 Oct 1997 10:52:34 +0100
From: "Peter Thompson" <pt205@cam.ac.uk>
To: <Loopers-Delight@annihilist.com>
Subject: Re: FS:EH 16 second $700
Message-ID: <01bcd0ab$3d6a6860$70da6f83@pt205.wolfson.cam.ac.uk>
Content-Type: text/plain

On 2/10/97 Travis Hartnett wrote:

>       The rare and desirable 16 second delay by Electro Harmonics,
>       has forward and reverse modes, up to 16 sec delay, modulation
>       and built in metronome. Fripp in a box (he used one). This one
>       is in excellent shape. $700


Here is a little snippet from an interview with Robert Fripp in Guitar Player, July 1995:

    Fripp once phoned Electro-Harmonix about the 16-second delay,     which they were advertising as a "Fripp-in-a-box".  "I asked if I could have one for free and they said "No"", grimaces Fripp.  "That's wonderful, isn't it?"


_________________________________
Peter Thompson
Wolfson College
Cambridge
England
pt205@hermes.cam.ac.uk

------------------------------
Date: Tue, 30 Sep 1997 13:35:06 -0400
From: "Bruce Gerow" <bgerow@ny.tds.net>
To: <Loopers-Delight@annihilist.com>
Subject: VORTEX
Message-Id: <199710041153.GAA14396@mail.tds.net>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Hi Loopers and Loopets,
	Can anyone suggest sources and/or perhaps know of prices for power supplys
(wall Warts) that are good for the Lexicon Vortex.The unit says 9v AC at 1
amp.It also says use Lexicon msa ac adapter.Are they available from
Lexicon?Also looking for footswitches.
	Thanks,
	 LooseBruce

------------------------------
Date: Sat, 4 Oct 1997 08:22:39 -0700
From: "Julia & Dave" <jndk@colba.net>
To: <Loopers-Delight@annihilist.com>
Subject: Re: VORTEX
Message-Id: <199710041221.IAA00662@mail.colba.net>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Hi, 

I'm really sorry to hear about your situation.  Lexicon PSUs are
really pricey.  we're talking about $50, and yes they are available
only from Lexicon unless you have access to a real good parts
supplier.

As far as footswitches are concerned,  you'll have to find one
with a TRS output.  Lexicon uses RE-AN footswitch circuits;
they are a British company that makes all the nice plastic
connectors you see on the back of your lexicons and most
european gear.


Hope this helps a little.


D 4 V 1 D    K R 1 5 T 1 4 N
 
"Echo is Instant Nostalgia"

  jndk@colba.net

  http://www.total.net/~alien8/Kristian.html

----------
> From: Bruce Gerow <bgerow@ny.tds.net>
> To: Loopers-Delight@annihilist.com
> Subject: VORTEX
> Date: Tuesday, September 30, 1997 10:35 AM
> 
> Hi Loopers and Loopets,
> 	Can anyone suggest sources and/or perhaps know of prices for power
supplys
> (wall Warts) that are good for the Lexicon Vortex.The unit says 9v AC at
1
> amp.It also says use Lexicon msa ac adapter.Are they available from
> Lexicon?Also looking for footswitches.
> 	Thanks,
> 	 LooseBruce

------------------------------
Date: Sat, 4 Oct 1997 09:20:01 -0400 (EDT)
From: Marzzz@aol.com
To: Loopers-Delight@annihilist.com, bgerow@ny.tds.net
Subject: Re:  VORTEX
Message-ID: <971004091959_172069482@emout01.mail.aol.com>

In a message dated 10/4/97 6:55:52 AM, you wrote:

>Can anyone suggest sources and/or perhaps know of prices for power supplys
>(wall Warts) that are good for the Lexicon Vortex.The unit says 9v AC at 1
>amp.It also says use Lexicon msa ac adapter.Are they available from
>Lexicon?Also looking for footswitches.

Try Radio Shack.

------------------------------
Date: Sat, 4 Oct 1997 11:15:53 -0400
From: tbickley@artswire.org (Tom Bickley)
To: Loopers-Delight@annihilist.com
Subject: Jamman footswitches
Message-Id: <v01540b00b05bd75f417e@[205.177.137.194]>
Content-Type: text/plain; charset="us-ascii"

Regarding footswitches for the Jamman: I'm very happy with the Boss FS-5U
and an insert cable.  Currently I'm using four of the footswitches and two
insert cables (a "send & return" cable with stereo 1/4" phone plug to to
mono 1/4" phone plugs).  The Boss footswitches lock together and feel very
comfortable.  This was my solution when I bought a Jamman that had been a
demo unit and no longer had a footswitch.  Also, though one pair of
switches lets you do a lot, the flexibility of control with two pairs is
terrific. -Tom

                                        *
"New music: new listening" -John Cage   *       tbickley@artswire.org
                                        *

------------------------------
Date: Sat, 4 Oct 1997 12:11:53 -0600 (MDT)
From: Henry Throop <throop@bogart.Colorado.EDU>
To: loopers-delight@annihilist.com
Subject: R Fripp in London (fwd)
Message-ID: <Pine.SOL.3.95.971004121001.16934A-100000@bogart.Colorado.EDU>
Content-Type: TEXT/PLAIN; charset=US-ASCII

> Robert Fripp, Trey Gunn, Tony Levin & Bill Bruford are playing December
> 1-4, 1997 @ The Jazz Cafe in London, England.  These performances will
> be unrehersed improvisations.

-henry
throop@bogart.colorado.edu

------------------------------
Date: Sat, 04 Oct 1997 01:26:52 -0500
From: Randy Jones <ranjones@texas.net>
To: Loopers-Delight@annihilist.com
Subject: Re:  VORTEX
Message-Id: <3.0.32.19971004012650.0098c5b0@texas.net>
Content-Type: text/plain; charset="us-ascii"

Hello,

Radio Shack didn't have one here. I found one locally at Altex Electronics
(210) 637-3200, but I had to splice my own connector (little thingee that
plugs into the Vortex) from a multi voltage wall wart as the one that came
with it was too small. Easy enough to do though.  I belive I paid less than
$10.00. I use a little Korg A/B switch with mine that I found at a pawn
shop. Works good. Also use both Boss FV50 and Boss FV60 expression pedals.
I understand most passive ones (no battery) will work. 



At 09:20 AM 10/4/97 -0400, you wrote:
>
>In a message dated 10/4/97 6:55:52 AM, you wrote:
>
>>Can anyone suggest sources and/or perhaps know of prices for power supplys
>>(wall Warts) that are good for the Lexicon Vortex.The unit says 9v AC at 1
>>amp.It also says use Lexicon msa ac adapter.Are they available from
>>Lexicon?Also looking for footswitches.
>
>Try Radio Shack.
>
>
>
>
>
>

--------------------------------