------------------------------
Loopers-Delight-d Digest				Volume 97 : Issue 213

Today's Topics:
  Re: Steam-powered looping             [ Ken Fletcher <fletk@efn.org> ]
  Re: Power Tools/Nels Cline (not much  [ klaw@iglou.com ]
  RE: On being complete nerds (and lon  [ Laurie Hatch <lahatch@dnai.com> ]
  RE: Bungle Good                       [ Laurie Hatch <lahatch@dnai.com> ]
  RE: On being complete nerds (and lon  [ Sean Echevarria <sechevar@californi ]
  Re: Say it out loud , I`m a geek and  [ hovard@online.no ]
  Re: Nels Cline                        [ hovard@online.no ]
  Re: Loopers-Delight-d Digest V97 #21  [ malhomme <malhomme@infobiogen.fr> ]
  wonder if there is another french pe  [ "c.voit" <c.voit@vtx.ch> ]
  effect sends and switchers            [ "Julia & Dave" <jndk@colba.net> ]
  Advice for Engineers (please read)    [ "Michael P. Hughes, Ph.D." <pycraft ]
  Re: andy summers show...              [ pycraft@elec.gla.ac.uk (Michael Pyc ]
  Re: andy summers show...              [ "Matt McCabe" <mattm@bi-tech.com> ]
  Vortex Alert                          [ klaw@iglou.com ]
  Re: effect sends and switchers        [ "T.W. Hartnett" <hartnett.t@apple.c ]
  Re: andy summers show...              [ "Michael P. Hughes, Ph.D." <pycraft ]
  Re: Vortex Alert                      [ "Michael P. Hughes, Ph.D." <pycraft ]
  Re: Vortex Alert                      [ Len Seligman <seligman@mitre.org> ]
  Re: Brainwave Synch                   [ "Stephen P. Goodman" <sgoodman@eart ]

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------------------------------
Date: Sun, 23 Nov 1997 04:27:49 -0800 (PST)
From: Ken Fletcher <fletk@efn.org>
To: Loopers-Delight@annihilist.com
Subject: Re: Steam-powered looping
Message-ID: <Pine.SUN.3.95.971123042618.9391E-100000@garcia.efn.org>
Content-Type: TEXT/PLAIN; charset=US-ASCII

Hi Jim-- 

Thank you very much for taking the time to expand on some details
of one- and two-deck tape looping.  I really appreciate it, and next time
I see a decent reel-to-reel deck (to pair with my current one) come
available, I'll think twice about passing it up!  Since you did give me
permission to post your e-mail on the list, I'm gonna do it because others
here may find it interesting and helpful.  Thanks again!  

-Ken Fletcher


On Fri, 21 Nov 1997, Bailey, Jim <baileyj@donmspcn.cmail.southam.ca> 
wrote:

:::
:::I don't know if you've had any other replies besides the one from Bret, but 
:::I thought I'd mention a few things that might be somewhat useful, having 
:::worked with both kinds of loops for 20+ years (and still doing so!).
:::
:::As for the closed-loop, single deck version, unless you can disable the 
:::erase head, this is really only good for creating a static loop (i.e. one 
:::that doesn't change) for a background to other sounds. With the erase head 
:::disabled, however, you run the risk of sounds building up until they become 
:::undifferentiated goop. Another major sticking point (literally and 
:::figuratively), is that splice. It does tend to sepatate after a while, so 
:::caution should be exercised.
:::
:::Regarding the two-deck method:
:::
:::(heavy sarcasm mode ON)You want to know about this and DON'T have Eno's 
:::_Discreet Music_? NAUGHTY, NAUGHTY, NAUGHTY!!! Rectify this situation AT 
:::ONCE!(heavy sarcasm mode OFF) The reason I mention this, is not only because 
:::it is one of the best examples of the genre, but also because the liner 
:::notes contain a diagram of the set-up which is clear enough even on the 
:::miniaturized CD version.
:::
:::   Bret's description was accurate enough, so I won't repeat any of that, 
:::but one thing to keep in mind is that no two decks will run at the same 
:::speed (a feature which Steve Reich took advantage of in some of his early 
:::tape pieces). This means that you will have one of two situations happening 
:::when the tape is running: If the faster deck is feeding, the tape will sag 
:::between the decks until there is a large pile on the floor which could cause 
:::problems later; conversely, if the slower deck is feeding, it could cause 
:::the tape to stretch (although with most good quality machines this shouldn't 
:::be a problem - at least I haven't found it so). If you want to get really 
:::fancy, it is possible to control the speed of one machine so that it matches 
:::perfectly with the other, although Revox is the only maker I know of who 
:::provides such an option (outsice of professional machines, of course), which 
:::is probably one of the main reasons Fripp and Eno used them. The advantage 
:::of speed matching, besides overcoming the above problems, is that there is 
:::less distortion of the signal on playback as well as other anomalies which 
:::seem to sneak in, and so the repetitions are cleaner and can last longer. I 
:::don't have any of that nifty shit, however, just a couple of Tandbergs, so 
:::it's a bit tricky, but also gives some wondeous and unexpected results, 
:::precisely the reason why I prefer this system.
:::   Depending on whether the input signal is mono or stereo, one may want to 
:::swap the channels on the return path to the record deck, so that left goes 
:::to right and vice versa. This can be especially effective for mono signals, 
:::and can be done using the pan controls on a mixer, or simply by reversing a 
:::pair of patch cables.
:::   To prove how adaptable the system is, I even did some loops using an 
:::ultra-cheap Sears portable machine for the playback. Very interesting 
:::results. As for your concerns about damage to the deck from the 
:::free-spinning reel, it doesn't seem to have had a noticable effect on my 
:::machines, although I suppose it could wear out the hub brakes a bit faster 
:::than normal. My advice? Definitely go for it if you can snag another deck!
:::
:::Although I'm sending this to you as personal mail, feel free to post it to 
:::the list if you like. BTW, sorry about the lack of a formal opening, but I 
:::realized that I'd forgotten to save your name along with the address.
:::
:::Good luck, and happy looping!
:::
:::Jim Bailey
:::

------------------------------
Date: Sun, 23 Nov 1997 10:13:24 -0500
From: klaw@iglou.com
To: Loopers-Delight@annihilist.com
Subject: Re: Power Tools/Nels Cline (not much looping content)
Message-Id: <v03007804b09e5b93d8fd@[204.255.239.188]>
Content-Type: text/plain; charset="us-ascii"

>klaw@iglou.com wrote:
>
>> >> Power tools also did continue after Bill left with Pete Cosey( Miles )
>> >>taking filling the big man's shoes . As you can imagine the sound of this
>> >>band changed considerably . I think Cosey played abit of G synth along
>> >>with some keybrd work. The only recorded document of this line up that I
>> >>know of is a live Knitting Factory radio show tape.
>>
>
>Who's got a copy of this? I'm a freak for Pete Cosey's
>playing & want to hear as much as I can. Here's what I
>know of:
>Muddy Waters-Electric Mud
>Miles Davis-Agharta, Pangea, Dark Magus, Get Up with It,
>En Concert avec Europe1, Call it what it is, Berlin '73,
>Another Bitches Brew
>Mtume-Rebirth Cycle
>Herbie Hancock-Future Shock
>I know there was a Howlin' Wolf Electric Wolf album, don't
>know if Pete was on it, but I think so.
>So is that it? The entire Pete Cosey discography?
>
>> Actually I believe I do have a copy . Let me see if I can dig it out&
>>Ill let you know.

               K Law

------------------------------
Date: Sun, 23 Nov 1997 12:03:39 -0800
From: Laurie Hatch <lahatch@dnai.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: On being complete nerds (and longhairs) 
Message-ID: <01BCF80A.30E35EE0.lahatch@dnai.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Paolo said:
>Below is my top-ten rotation of CDs in my current listening.  It's funny that
>just a few years ago, I was under the influence of the UCSD Music Department
>in that I snobbishly avoided any music that I or the professors and graduate
>students would consider "not innovative/creative enough".  It's taken some
>time to open my mind and not be ashamed of liking the music I like. :)

Good for you!  Yeah, too bad about much of music academia:  self confidence in 
one's musical autonomy is constructed and deconstructed at the same time.  But 
that's another discussion...

Great list!

>...8. Modest Mussorgsky - Pictures At An Exhibition

>Not much to say about this classic.  ...

Allow me:

(The following is a peripheral-to-the-topic, Sunday morning introspection, but 
I do eventually get around to looping.  It is not nearly as, shall we say, 
stimulating as a Butt Looper!)

Pictures:  I'm curious if you have a fave performance, Paolo - there are so 
many.  Although I do enjoy the orchestral recordings, I'm partial to 
Mussorgsky's original score for solo piano.  (Loren Hollander's version is 
exceptionally  dynamic and expressive, but unfortunately out of print.)  IMHO, 
Ravel's orchestration was an extraordinary accomplishment, but I almost think 
something was lost - the original piano score's unadorned elegance and 
starkness are less evident in more texturally complex orchestral renditions. 
 (Some critics are even less charitable about Ravel's effort, bless 'em.  Hey, 
each to his/her own!  Would that our respective talents were all as generously 
endowed as Ravel's! ...Hmmm, that didn't sound quite right...)

So what does this have to do with looping?  Well, it got me to thinking what 
Ravel might have done with an electronically enhanced orchestra and looping 
devices/instruments.  Or Mussorgsky, for that matter.  Although for me, in this 
case, MM's composition and choice of instrument virtually define each other. 
 Anyway, seems like it would have been pretty cool.  (Remember Emerson, Lake, 
and Palmer's version?  Took a lot of b-, uh, guts to tread in MM's enormous 
footprints.  I lost that album, the vinyl kind, in a move long ago. It's 
reissued on CD.  Wonder how it has stood the test of time?)

This brings up the related thread about compositional approach and inspiration, 
to which I'd like to add:

The differences between MM's original, and Ravel's interpretation (independent 
of one's personal preference or opinion) are excellent examples of the 
challenge that all musicians face.  We continually make decisions, consciously 
and unconsciously, about the validity/necessity/success of each component and 
layer in our "audio collages" (yeah, great description).  For us modern 
loopers, the relative profusion of tools that allows us to easily build 
incredibly dense, multi-layered sounds can be both a blessing and a curse.  It 
is tempting to add more and more, because it's fun, and it's easy!  However, we 
must be careful not to suffocate the unaffected freshness, vitality, 
--rawness!-- that illuminate our expressions.  That's what inspired us to 
create them in the first place.

laurie

------------------------------
Date: Sun, 23 Nov 1997 12:05:09 -0800
From: Laurie Hatch <lahatch@dnai.com>
To: "'Loopers-Delight@annihilist.com'" <Loopers-Delight@annihilist.com>
Subject: RE: Bungle Good
Message-ID: <01BCF80A.33580860.lahatch@dnai.com>
Content-Type: text/plain; charset="us-ascii"
Content-Transfer-Encoding: 7bit

Jamie said:
>I would like to unanimously agree with Kim's post about Mr Bungle.

Ditto that.

>Fortunately, I saw them in brisbane a year ago, and the show was crowded, but 
>not a total sellout. (Who would have thought living in Brisbane would have 
it's >perks...)
>The crowd was a diverse sample to say the least.

I can only imagine.  Even put Berkeley's best to shame, no doubt.  (For anyone 
unfamiliar with its cultural geography, "Berserkeley" prides itself on 
exploring all the options.)

>In a strange way Mr Bungle are at the same time the antithesis of music and 
the >icon of music.

Perceptive statement.  I only heard the first three cuts from Disco Volante, 
but these guys don't waste any time letting you know that you're in for a ride. 
 Not exactly elevator music. If it was, the suspension cable would have to be a 
bungee cord!  (Hey, how about "Elastic" mode on a looping device?  Temporal 
disequalizer, cc pedal?  Has this been done?)

>Also, like a lot of loopers around the place, they use a lot of interesting 
>techniques to get their sound.
>The mix of sound I experienced at the Bungle concert was so clear, that I 
could >hear every nuance from every musician. Not a small feat considering what 
they >played and how often they do a musical about-face.

That really is amazing.  These guys have lotz 'o chopz, ignited by intense 
energy.  Sort of Ornette Coleman, The Next Generation.


laurie

------------------------------
Date: Sun, 23 Nov 1997 13:08:24 -0800
From: Sean Echevarria <sechevar@california.com>
To: Loopers-Delight@annihilist.com
Subject: RE: On being complete nerds (and longhairs) 
Message-Id: <3.0.3.32.19971123130824.0092f380@global.california.com>
Content-Type: text/plain; charset="us-ascii"

Or Mekong Delta's version?  Interesting bunch of guys that never properly
attributed much of the work they released as their own.

At 12:03 PM 11/23/97 -0800, you wrote:
>>...8. Modest Mussorgsky - Pictures At An Exhibition
>
>>Not much to say about this classic.  ...
>
>Allow me:
>
[snip]
>devices/instruments.  Or Mussorgsky, for that matter.  Although for me, in
this 
>case, MM's composition and choice of instrument virtually define each other. 
> Anyway, seems like it would have been pretty cool.  (Remember Emerson,
Lake, 
>and Palmer's version?  Took a lot of b-, uh, guts to tread in MM's enormous 
>footprints.  I lost that album, the vinyl kind, in a move long ago. It's 
>reissued on CD.  Wonder how it has stood the test of time?)

------------------------------
Date: Mon, 24 Nov 1997 00:11:02 +0100
From: hovard@online.no
To: Loopers-Delight@annihilist.com
Subject: Re: Say it out loud , I`m a geek and...
Message-Id: <3.0.32.19971124001100.006a41c4@online.no>
Content-Type: text/plain; charset="us-ascii"

>Thomas:
>
>I went through the same thing, 'cept it was my girlfriend, not my tape
>delay. Your poignant narrative makes my experience seem shallow by
>comparison  ;)
>
>" A Boy and his Roland". Tonight, I'll say a little prayer for you, man.
>
>drone on~~~~~~~~~~Tom
>Tom Lambrecht  hideo@concentric.net
>


 Hey Tom!  Good to see someone understanding the tragedy of all this. So
show me some respect , I know what pain is!  :)

I`ll let you know when I`m fully restored and on my feet.......

Thomas
>
>

------------------------------
Date: Mon, 24 Nov 1997 00:11:17 +0100
From: hovard@online.no
To: Loopers-Delight@annihilist.com
Subject: Re: Nels Cline
Message-Id: <3.0.32.19971124001116.0068ce78@online.no>
Content-Type: text/plain; charset="us-ascii"

Hey ,everybody who followed the little tread about Niels Cline ; 
I was over at Guitar Player online and checked out what the next issue
contained ,
and whaddya know , "Niels Cline details the life of a double method
guitarist" (?).
I can`t wait to read it......Now if I could just locate a cd of him here in 
No(r)way........

Thomas

------------------------------
Date: Mon, 24 Nov 1997 10:53:16 +0000
From: malhomme <malhomme@infobiogen.fr>
To: Loopers-Delight@annihilist.com
Subject: Re: Loopers-Delight-d Digest V97 #212
Message-ID: <34795C9A.275F@infobiogen.fr>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

" Any loopers or other fingerstyle guitarist/jazz players in city of
Paris, France that I could connect with November 26-December 1, 1997?"

Ah. You hit me in my soft spot... Loopers in france... Geee. I wonder if
more than 3 persons have bought jammen, and probably, the EDP has never
seen the french skies...
They are a few persons make loop oriented muisc taht I know in my area,
butit is 200 Km from Paris. None performs loop music, they do it mostly
at home with old  limited toys...
As for Jazz playing, there are plenty plenty plenty. If they are to be
catched by you (I know nothing of touring schedule) try to find N'Guyen
Le, Marc Ducret...
There are places that have concerts all week long like the "New
Morning".
I'll check for more...

Olivier Malhomme

Besides I wonder if there is another french person here...

------------------------------
Date: Mon, 24 Nov 1997 12:02:54 +0100
From: "c.voit" <c.voit@vtx.ch>
To: Loopers-Delight <Loopers-Delight@annihilist.com>
Subject: wonder if there is another french person here...
Message-ID: <34795EDE.858E3E17@vtx.ch>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit

salut a tous amateurs de boucles de plaisirs

wouln't the list be more colourful if the greetings were done in our
mother tongue 

ALABIENTOT

Claude

------------------------------
Date: Mon, 24 Nov 1997 08:42:57 -0500
From: "Julia & Dave" <jndk@colba.net>
To: "Looper's Delight" <Loopers-Delight@annihilist.com>
Subject: effect sends and switchers
Message-Id: <199711241335.IAA20966@mail.colba.net>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

Hi,

I'm only a couple hours away from picking up a Delta Lab DL-1 delay,
, DL-5 Harmonicomputer and a Digitech RDS-4000 Time Machine.

I'm also down to one effect send on my mixer and since I refuse to use
patchbays (I'm patching modular synth equipment non-stop so I really don't
need further worries.),  I'm curious to know how the guitar loopers out
there
cope with this situation.  I'm sure there are a few of you out there with
more
than two loopers..

I've never used switching systems, but I think they could be useful in this

case.

Any tips?

TIA,

D 4 V 1 D    K R 1 5 T 1 4 N

jndk@colba.net 
http://www.total.net/~alien8/Kristian.html

P.S. I wish someone would make a small mixer WITHOUT mike inputs for
once and give more than two or three sends.

------------------------------
Date: Mon, 24 Nov 1997 15:37:31
From: "Michael P. Hughes, Ph.D." <pycraft@elec.gla.ac.uk>
To: Loopers-Delight@annihilist.com
Subject: Advice for Engineers (please read)
Message-Id: <3.0.1.16.19971124153731.263761e6@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

At 12:02 PM 11/24/97 +0100, Claude wrote:
>wouln't the list be more colourful if the greetings were done in our
>mother tongue 

Bore Da, Pawb*!

I'm currently mentoring a group of 1st-year students on the Electronics
With Music degree.  Obviously they'd all like to get jobs in the music
electronics industry, and I've been giving what limited advice I can.

Then it occured to me that on this list we have so many people in the music
tech field - people working at Lex and Oberheim, entrepreneurs like Motley
and freelancers like Matthias and Kim.  So to all you guys out there, I'd
be _really_ grateful if you could spend a couple of minutes to send me some
advice/encouragement/grim hard truth to pass on to these guys.   I'd really
appreciate it.

Thanks all!

Iawn*,

Michael

* Welsh, BTW

------------------------------
Date: Mon, 24 Nov 1997 16:25:33 GMT
From: pycraft@elec.gla.ac.uk (Michael Pycraft Hughes, PhD)
To: Loopers-Delight@annihilist.com
Subject: Re: andy summers show...
Message-Id: <14943.199711241625@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

Andre:
>if ANDY Summers is coming to your town on his short (20-25 date) tour of US
>east & west coasts - do go see him - i just saw the (moderately attended)
>wetlands NYC show - first of the tour, and it rocked - or actually, it
>jazzed - Andy's playing a ton of standards, and standards-ish material - his
>new CD with Tony Levin, Gregg Bissonette is awesome, if you like jazz guitar
>with balls and modern tones.... the cd also features on one cut, Bernie
>Dresel(dr) and Jerry Watts (bs) who are his fine touring band.... 

It's funny, but the most recent Andy Summers material fails to excite me
the way his Police / XYZ stuff did.  It's as if he's become _too_ competent
- his older playing always sounded as if he was fighting to find the next
note, a sense of tension and playing on the edge of his ability (Steve Howe
gives the same impression to me) where no-one knows how anything will turn
out.  His more recent stuff seems so slick it's heading towards more
generic fusion.  His "new age" release "Mysterious Barricades" is still a
big influence on my playing (probably more than Fripp, whost style he seems
to imitate on this album)...

Comments anyone?

Michael

------------------------------
Date: Mon, 24 Nov 1997 08:56:27 -0800
From: "Matt McCabe" <mattm@bi-tech.com>
To: <Loopers-Delight@annihilist.com>
Subject: Re: andy summers show...
Message-Id: <199711241648.IAA28489@gw1.bi-tech.com>
Content-Type: text/plain
Content-Transfer-Encoding: 7bit

> From: Michael Pycraft Hughes, PhD <pycraft@elec.gla.ac.uk>

> It's funny, but the most recent Andy Summers material fails to excite me
> the way his Police / XYZ stuff did.  It's as if he's become _too_
competent

I would agree.  I've purchased every one of his solo albums and end up
wondering why.  Although, there is always one song I like on each disc.  
XYZ had some high points...but he should have found a singer.  The first
cut off of "The Golden Wire" is a still one of my personal favorites.

> - his older playing always sounded as if he was fighting to find the next
> note, a sense of tension and playing on the edge of his ability (Steve
Howe
> gives the same impression to me) where no-one knows how anything will
turn
> out.  His more recent stuff seems so slick it's heading towards more

IMO, this most innovative work was with the Police...BUT....his tone and
(subtle) use of effects is just as good today.  I'm not a huge fan of jazz
so his solo albums are a little harder for me to digest....and I can't help
but wonder what would happen if he used a little more of his rock
vocabulary in this writing.  But, his approach to guitar and melody are
still unique and interesting.  I particularly like the way he slides off of
notes and his warm, smooth, sustaining lead tone.

> Comments anyone?

I was glad to see that David H..? was not involved in the production of
"The Last Dance of Mr. X."  His cheesy keyboard sounds really bugged me!!

Matt

------------------------------
Date: Mon, 24 Nov 1997 11:56:49 -0500
From: klaw@iglou.com
To: Loopers-Delight@annihilist.com
Subject: Vortex Alert
Message-Id: <v03007809b09fc42b4fcc@[204.255.239.188]>
Content-Type: text/plain; charset="us-ascii"

 Monday Nov 24 . 4 Vortexes in stock -$235ea>>>>>>>Warehouse >>Louisville
Ky (502)-456 -4730 . These are new in box units w footswitch manual
etc.Music Warehouse> Louisville Ky 502 -456- 4730 Open til 10 pm today.

                             K Law

------------------------------
Date: Mon, 24 Nov 97 10:42:17 -0000
From: "T.W. Hartnett" <hartnett.t@apple.com>
To: "Looper's Delight" <Loopers-Delight@annihilist.com>
Subject: Re: effect sends and switchers
Message-Id: <199711241638.IAA23902@scv2.apple.com>
Content-Type: text/plain; charset="US-ASCII"

>I'm also down to one effect send on my mixer and since I refuse to use
>patchbays (I'm patching modular synth equipment non-stop so I really don't
>need further worries.),  I'm curious to know how the guitar loopers out
>there
>cope with this situation.  I'm sure there are a few of you out there with
>more
>than two loopers..


What I do is take the stereo outs from my guitar preamp, and run one into 
a Digitech 3.6 sec delay.  It has three outs, mix, dry, and inverted mix. 
 The mix is set to 100% wet and sent to one channel of my mixer.  The dry 
is sent to another channel.  The other preamp out feeds a DOD 8second 
delay pedal, set to 100% wet going to a third channel.

Effects send 1 on my mixer feeds an Echoplex, which returns not to 
effects return, but to a fourth channel.  Effects send 2 goes to a 
Vortex.  This setup doesn't allow me to send anything to any other 
possible destination, but in practice I haven't found the need for that. 

However, in the brand new Guitar Player, I saw notice of a 1-in/8-out 
splitter called the Studio Ho, which I'll be purchasing ASAP (lists for 
$179).  With my current setup, levels can fluctuate depending on whether 
or not one of the delays is active, and I'm sure it's a horrible set of 
mismatchs, but it works for now.  Once I get the Studio Ho, which is 
completely buffered, I'll send the out from the preamp to that, and use 
that to feed the delays.  This will also allow me to add more delays and 
hopefully a second Vortex.

Travis Hartnett

------------------------------
Date: Mon, 24 Nov 1997 18:45:39
From: "Michael P. Hughes, Ph.D." <pycraft@elec.gla.ac.uk>
To: Loopers-Delight@annihilist.com
Subject: Re: andy summers show...
Message-Id: <3.0.1.16.19971124184539.28c7a276@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

>> From: Michael Pycraft Hughes, PhD <pycraft@elec.gla.ac.uk>
>
>> It's funny, but the most recent Andy Summers material fails to excite me
>> the way his Police / XYZ stuff did.  It's as if he's become _too_
>competent
>
>I would agree.  I've purchased every one of his solo albums and end up
>wondering why.

Not a good sign!

>  Although, there is always one song I like on each disc.  
>XYZ had some high points...but he should have found a singer.  The first
>cut off of "The Golden Wire" is a still one of my personal favorites.

I really like XYZ - and whilst he can't sing on the whole, he deadpans some
tracks quite well.  I'm disappointed this album seems to have been "buried"
as a bad job - I certainly an't find CD reissues about...

>IMO, this most innovative work was with the Police...BUT....his tone and
>(subtle) use of effects is just as good today.  I'm not a huge fan of jazz
>so his solo albums are a little harder for me to digest....and I can't help
>but wonder what would happen if he used a little more of his rock
>vocabulary in this writing.  But, his approach to guitar and melody are
>still unique and interesting.  I particularly like the way he slides off of
>notes and his warm, smooth, sustaining lead tone.

Ever since buying Charming Snakes (I think it was - does that have him
playing a Klien in a rather -ahem - unusual manner on the back?) I've beent
trying to figure out who it soundslike he's been listening to, and it's
struck me now - he sounds more like a cross between Andy Summers and Larry
Carlton (with maybe a dash of Holdsworth or Vai)... a pity, since he seems
to be diluting his style as his technique has improved.

Practising, kids - just say no.

Michael 

------------------------------
Date: Mon, 24 Nov 1997 18:47:14
From: "Michael P. Hughes, Ph.D." <pycraft@elec.gla.ac.uk>
To: Loopers-Delight@annihilist.com
Subject: Re: Vortex Alert
Message-Id: <3.0.1.16.19971124184714.376f7f82@rank-serv.elec.gla.ac.uk>
Content-Type: text/plain; charset="us-ascii"

At 11:56 AM 11/24/97 -0500, you wrote:
> Monday Nov 24 . 4 Vortexes in stock -$235ea>>>>>>>Warehouse >>Louisville
>Ky (502)-456 -4730 . These are new in box units w footswitch manual
>etc.Music Warehouse> Louisville Ky 502 -456- 4730 Open til 10 pm today.

Just to let Brit loopers know, they have some in Turnkey at 199-00 stirling.
They advertise in Sound on Sound, etc.  7 left, last I heard.

Michael

------------------------------
Date: Mon, 24 Nov 1997 12:33:38 -0500
From: Len Seligman <seligman@mitre.org>
To: Loopers-Delight@annihilist.com
Subject: Re: Vortex Alert
Message-Id: <3.0.2.32.19971124123338.006e22c0@dharma.mitre.org>
Content-Type: text/plain; charset="us-ascii"

At 11:56 AM 11/24/97 -0500, you wrote:
> Monday Nov 24 . 4 Vortexes in stock -$235ea>>>>>>>Warehouse >>Louisville
>Ky (502)-456 -4730 . These are new in box units w footswitch manual
>etc.Music Warehouse> Louisville Ky 502 -456- 4730 Open til 10 pm today.
>

I just got one of them. The guy said they were really $299, but he "let it
go" for $250 plus shipping.

-Len

------------------------------
Date: Mon, 24 Nov 1997 09:43:58 -0800
From: "Stephen P. Goodman" <sgoodman@earthlight.net>
To: <Loopers-Delight@annihilist.com>
Subject: Re: Brainwave Synch
Message-ID: <01bcf900$8b1ed0a0$e33bd4cc@CIS.compuserve.com>
Content-Type: text/plain;
	charset="us-ascii"
Content-Transfer-Encoding: 7bit

I've never used it, but apparently CoolEdit has wave generation on that
level..  Anyone tried using it?

Stephen Goodman           * http://www.earthlight.net/Studios
EarthLight Productions     * Get the Loop Of The Week Free!

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