------------------------------ Content-Type: text/plain Loopers-Delight-d Digest Volume 97 : Issue 34 Today's Topics: Re: Anti-MIDI looping [ kflint@annihilist.com (Kim Flint) ] Re: midi echoplex [ kflint@annihilist.com (Kim Flint) ] LOo-oOP Dee-Lite [ Mark HEWINS ] RE: Some of us never left [ "Hogan, Greg" ] Revox varispeed [ "Bailey, Jim" ] Re: JamMan & MIDI [ kflint@annihilist.com (Kim Flint) ] Akai user's group [ c62op27@ibx.com (Victor Fiorillo) ] Re: Musicianship, live technique, et [ matthias@bahianet.com.br (Matthias ] Re: Revox varispeed [ matthias@bahianet.com.br (Matthias ] Re: Musicianship, live technique, et [ nyfac ] alternate footpedals for JamMonster? [ nyfac ] 2 subjects [ jspeer@haverford.edu ] Re: JamMan & MIDI [ jspeer@haverford.edu ] Re: Some of us never left [ John Pollock Content-Type: text/plain; charset="us-ascii" At 12:53 PM 2/19/97, BobbyZZZ@aol.com wrote: >hi all! > i need to decide between the Echoplex and the TC 2290 for delays and looping >for live work. has anyone been able to contact Oberheim for service lately? i >have heard some SAD things about their support lately.... Dealing with Oberheim takes some patience. It's a VERY small company. If you call them directly it can take a while for them to get back to you, because they are generally spending their time on some other aspect of running a manufacturing business. (like say, trying to get more echoplexes built) They don't have enough resources to ship products and answer your call, its one or the other. If you call the parent company, Gibson Guitar, you should have no problems getting through to a real customer support human that is genuinely interested in helping you out. That's how it's actually supposed to work. They might not know the answer, but at least they will not know in an upbeat and eager manner. And if you stay on this list, you have not one, not two, but *three* of the original echoplex designers available to do your bidding! Not to mention a whole bunch of plexusers.... (well, we might not do everything you ask. But darn near....;-) ) >can the echoplex >sync up to MIDI clock? we only have one MIDI-CV converter in our band so >far....any of you out there use the TC 2290??? i can get my hands on one for >pretty cheap, and it's been memory expanded already...please help if you're >out there :-) >bobby devito/lvx nova >http://virtu.sar.usf.edu/~devito Yes, the echoplex does sync to midi clock. It generates it as well. Check out the Echoplex FAQ page on the Looper's Delight website. There is a section on midi syncing. http://www.annihilist.com/loop/tools/echoplex/FAQ.html 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: Thu, 20 Feb 1997 00:08:54 -0800 From: kflint@annihilist.com (Kim Flint) To: Loopers-Delight@annihilist.com Subject: Re: midi echoplex Message-Id: Content-Type: text/plain; charset="us-ascii" >Hi, loopist >I'm using an echoplex pro with about three min. of record time on board >and im trying to get the hang of syncing to midi and recording guitar in sync >with the midi. Sequencer driving the echoplex sometimes and echo driving the >seq. sometimes. Could Kim or Matthias give me a step by step set up for the >plex, on both procedures. And also what key combination resets the echoplex >back to factory parameters. thanks guys ,the Echoplex Digital Pro is the >greatest creative booster I've ever experienced . what a great unit ! >thanks again. >Kem McNair You reset the echoplex parameters by holding down the parameter button while powering up. Looping my email: Check out the Echoplex FAQ page on the Looper's Delight website. There is a section on midi syncing. http://www.annihilist.com/loop/tools/echoplex/FAQ.html If that doesn't answer your question, let me know. 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: Thu, 20 Feb 1997 12:12:27 GMT From: Mark HEWINS To: Loopers-Delight@annihilist.com Subject: LOo-oOP Dee-Lite Message-Id: <2.2.16.19970220121425.4a570d7c@musart.sonnet.co.uk> Content-Type: text/plain; charset="us-ascii" Hi Folks, Just added myself and the Canterbury Musicians (well some of them) to the looperlist.... < http://www.musart.co.uk/ > MUSART Hugh Hopper and the rest of the SOFT MACHINE of the time have just released a previously unavailable recording 'Spaced' from 1968, featuring a tape looping extravaganza: Recorded at a primeval 'multi-media' event live at the Roundhouse in London. < http://www.musart.co.uk/tree.htm > We are-in the Canterbury Music scene; all loopers of old (except myself ; Mark Hewins; I'm jung). Daevid Allen(Gong) was at it in 1962 with Robert Wyatt (Soft Machine) and all those looping dudes of old! A seamless 35 year history! Dating from almost before I was born! Some of the Musicians in the Canterbury scene have been using tape loops; and other esoteric bits of gear to make new sounds; since at least the mid 60's and early '70's are: Hugh Hopper, Mike Ratledge, Robert Wyatt, Dave Stewart, Pip Pyle, Dave Sinclair, Kevin Ayers, Lol Coxhill, Phil Miller, Steve Hillage, Richard Sinclair, < http://www.musart.co.uk/muso1.htm > The list carries on and I'm lucky; the heritage trickles down to me.... I now have an old Revox B77 MkII that I use for tape echo and looping only... (Back to the dark ages? I think not) Soft Machine are the ones who supported Pink Floyd when Floyd were still playing 'pop' tunes.... Funny that!... Then as a band they discovered accessable popalooping for making money! The Canterbury boys, from the 'Wilde Flowers' onwards, actually made what was a shift from 'solo' Looping/Improvisation into a group form, dependant on their own Inter/Improvisational skills (considerable). With AMM, And especially Keith Rowe (whom it is also my luck to know well) you had the 'first' ^_^ electric 'Improvised Music' band, but with Soft Machine the Music became known artistically to a world audience. For Pink Floyd it became a financial carreer possibility. All of us working in this area should acknowledge the contribution these gifted experimenters gave us. BTW They all worked with each other at some point too.... A fine example! P&L>M MARK HEWINS < http://www.musart.co.uk/hewins.htm > (try the new CHORD PICKER) < http://www.musart.co.uk/chords.htm > OR MUSART - THE CANTERBURY SCENE MUSICIANS http://www.musart.co.uk/ 300+webpages - over 10,000 hits a week ********************************************* Subscribe to "What's Rattlin'" the weekly CANTERBURY MUSIC ON-LINE NEWSLETTER ***************** *********** bigbang@mail.alpes-net.fr (with the message-subscribe) ************* ************ THE EMBRYONIC, 'SOUND SERVER' < http://www.musart.co.uk/fram/samfram.htm > ************* ************ WHAT'S RATTLIN' ? BACK ISSUES - ONLINE ARCHIVE (MUSART) < http://www.musart.co.uk/watrat/watrat.htm > ********************************************** ------------------------------ Date: Fri, 21 Feb 1997 09:11:00 -0500 From: "Hogan, Greg" To: Loopers-Delight Subject: RE: Some of us never left Message-Id: <9702201428.AA20502@beryllium.lexicon.com> Mark Hewins asked:" Does anyone have any information about the varispeed *remote control* for this machine?" The B77 accepts somewhere between +2 and +12Vdc which can vary from machine to machine. DC input is at pin 4 of the 4 pin din and ground is pin 1. ------------------------------ Date:Thu, 20 Feb 1997 17:46:00 -0500 From: "Bailey, Jim" To: looppost Subject: Revox varispeed Message-ID: <330CD34E@pcsmtp.cmail.southam.ca> >From: Mark HEWINS >I got an old Revox B77 MkII (for tape echo and looping only) about 2 months >ago-my choice. Does anyone have any information about the varispeed *remote >control* for this machine? Try writing to a guy named Bob Fripp, or something like that, I understand he used to use them at one time. %~} ) <---- (the smiley family's weird Uncle Salvador). Seriously though, sorry, I'm not that familiar with the Revox gear, it always seemed to be just beyond my financial grasp :-( . Try a service shop that deals with them, or perhaps a distributor, if possible. I don't know enough about the scene over there ot suggest more. Jim b. ------------------------------ Date: Thu, 20 Feb 1997 23:50:15 -0500 From: future perfect To: Loopers-Delight@annihilist.com Subject: JamMan & MIDI Message-ID: <330D2987.2DAE@gte.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Hi..I am considering buying a JamLad and I would like to know if I can control the various functions with MIDI..I currently use a Ground Control footswitch for my guitar synth, and would like to be able to easily control the loops and overdubs easily, without having more footswitches on the floor. Also, does the JamBoy have a 'multiply' function like the Echoplex? Just wondering... Dave ------------------------------ Date: Thu, 20 Feb 1997 23:44:54 -0800 From: kflint@annihilist.com (Kim Flint) To: artmusic@gte.net, Loopers-Delight@annihilist.com Subject: Re: JamMan & MIDI Message-Id: Content-Type: text/plain; charset="us-ascii" At 11:50 PM 2/20/97, future perfect wrote: >Hi..I am considering buying a JamLad and I would like to know if I can >control the various functions with MIDI..I currently use a Ground >Control footswitch for my guitar synth, and would like to be able to >easily control the loops and overdubs easily, without having more >footswitches on the floor. Also, does the JamBoy have a 'multiply' >function like the Echoplex? Just wondering... >Dave >From what I hear, the JellyMan can be controlled by midi from a ground control. You have to have the updated ground control software to do this. I'm sure there are others who can tell you more about that. Multiply is unique to the Echoplex, so you will be stuck with singular looping. Of course, there is the question of whether there are any jahmans left to buy....anyone know? 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: Fri, 21 Feb 97 07:55:50 EST From: c62op27@ibx.com (Victor Fiorillo) To: Loopers-Delight@annihilist.com Subject: Akai user's group Message-Id: <9702211255.AA27636@ibx.com> Does anyone know of a user's group on the Net for the AKAI S2000 or any general Akai list? I have EMail only access, otherwise I could do a search. Thanks, Victor ------------------------------ Date: Fri, 21 Feb 1997 10:53:48 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: Musicianship, live technique, etc... Message-Id: Content-Type: text/plain; charset="us-ascii" Romeo: >First of all, when working with other musicians, how important is >communication while playing, especially when all of the material is 90 to >100% improvised? I mean like giving each other cues, or just staying in >touch with the other guy/guys to see where they're at. I never look at the partner either. Sound is enough. Picture can disturb, pushing you back to material world. I depends whether you intend to follow the partner or the original inspiration. >Secondly: I'm beginning to understand breaks in composition. I mean >dead spaces, quiet spaces, quieter spaces - increasing dynamic range. >When we work together, one recipe we use is one person will do a complex >drone, the other will do rhythmic sequential stuff. One problem I've been >having is that the music just goes on and on and there aren't any >breaks... it feels like a need to keep the music going no matter what, and >this seems really tiring after a while, like "hey, we're trying to >overload your circuits, relentlessly". On the LOOP delay, there was a button called BREAK. Then, for the Plex, Keith thought MUTE would be easier to understand - I do not know, but it was *meant* to let you create breaks in the loops. >I'm very interested in how you loopers deal with this, since looping >essentially means endless music. I mixed LAZZO, the reggae band here at Carnaval and we traveled 5 hours non stop (litteraly, all songs connected, only once the bass player had to pee) through the city and I felt how close reggae and loops are and serve for dancing. People followed us hours in the rain and when daylight came, all brains were washed. There were some breaks, that did not help for my taste. But dynamics yes. The bass player afterwards said that he felt angry because he could not stand to play these songs extended like that. In my loop music, I handle it similarely: I never stop, but with FeedBack, I keep the dynamics alive and the loop changing. >I was asked to provide some sound installations >for an event I was also playing at. I decided to come up with some audio >"fountains". I made a tape of my modular synthesizer, plus mixing in >some other tape material. The idea was to play them on some custom tape >decks that will play a cassette endlessly, in mono, not repeating the >music for 4 hours. I also kept in mind that these "fountains" would be >playing in quieter spaces, away from the main events where people might be >relaxing or having conversations, so I made a point of letting the music >play, but then recording - often minutes - of dead silence or very quiet >passages. The music would stop as some fountains do periodically. I was >hoping this would provide both entertainment and relaxation or refuge. I loved "sound fountains". HiFi Video tapes may have the longest playing time at a very good quality. With the silent passages you achieve what? Relaxation of the ears? Relaxation from the relaxation :-) ? Do we like fountains that stop periodically? Thanks for the creative contribution Matthias ------------------------------ Date: Fri, 21 Feb 1997 10:54:02 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: Revox varispeed Message-Id: Content-Type: text/plain; charset="us-ascii" >>From: Mark HEWINS >>I got an old Revox B77 MkII (for tape echo and looping only) about 2 months >>ago-my choice. Does anyone have any information about the varispeed *remote >>control* for this machine? By some accident, I have the whole drawings of the B77. I don't know about MkII differences but pinout must be the same: 1 Gnd 2 +12V 3 nothing 4 Control voltage The control voltage runs directly to pin 5 of a NE555. They design the controller with a LM301 as impedance converter. I bet its not necessary. I remember having done such a speed control for a customer in '84 and it was very simple, and it worked. The pot in the controller is 10k lin and for the coarse setting, it has 16k2 to ground and 5k7 to +12V. They even use 1% resistors. Revox. Just go ahead and try. Or ask more questions. Matthias ------------------------------ Date: Sat, 22 Feb 1997 09:25:09 -0500 From: nyfac To: Loopers-Delight@annihilist.com Subject: Re: Musicianship, live technique, etc... Message-ID: <330F01C5.41C6@nyfac.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit > >First of all, when working with other musicians, how important is > >communication while playing, especially when all of the material is 90 to > >100% improvised? I mean like giving each other cues, or just staying in > >touch with the other guy/guys to see where they're at. > > I never look at the partner either. Sound is enough. Picture can disturb, > pushing you back to material world. > I depends whether you intend to follow the partner or the original inspiration. I rely quite a bit on eye-contact. It seems to me that if you can tell what your partners are doing just by listening to them, then you may be in danger of being predictable. As far as being a material disturbance, eye contact between partners is intuitive and becomes second nature. > >Secondly: I'm beginning to understand breaks in composition. I mean > >dead spaces, quiet spaces, quieter spaces - increasing dynamic range. > >When we work together, one recipe we use is one person will do a complex > >drone, the other will do rhythmic sequential stuff. One problem I've been > >having is that the music just goes on and on and there aren't any > >breaks... it feels like a need to keep the music going no matter what, and > >this seems really tiring after a while, like "hey, we're trying to > >overload your circuits, relentlessly". I have a bad habit of doing this, too. > > >I was asked to provide some sound installations > >for an event I was also playing at. I decided to come up with some audio > >"fountains". I made a tape of my modular synthesizer, plus mixing in > >some other tape material. The idea was to play them on some custom tape > >decks that will play a cassette endlessly, in mono, not repeating the > >music for 4 hours. I also kept in mind that these "fountains" would be > >playing in quieter spaces, away from the main events where people might be > >relaxing or having conversations, so I made a point of letting the music > >play, but then recording - often minutes - of dead silence or very quiet > >passages. The music would stop as some fountains do periodically. I was > >hoping this would provide both entertainment and relaxation or refuge. A friend of mine did something similar to this, but instead of using canned audio he ransacked my studio for every imaginable processor to toast radio broadcasts and the heavily effected drum machine output. It was swell. ------------------------------ Date: Sat, 22 Feb 1997 09:36:37 -0500 From: nyfac To: Loopers-Delight@annihilist.com Subject: alternate footpedals for JamMonster? Message-ID: <330F0475.167E@nyfac.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit While I love my JamSter, I hate that damned footswitch. While rifling in a box of old cable I found an insert Y-splitter, meaning that there is one male stereo jack attached to two mono female jacks. One of the F jacks is marked RING and the TIP (this starting to sound familiar?). You use these just like a normal insert cable except you use a regular old 1/4" to 1/4" cable. I was thinking that it would be a swell idea to use two sustain pedals plugged into this Y-dingus and has a slightly more tap friendly pedal contraption. Will this work? Do I need the normally open kind or the normally closed? Trevor ------------------------------ Date: Fri, 21 Feb 1997 11:03:10 -0500 From: jspeer@haverford.edu To: Loopers-Delight@annihilist.com Subject: 2 subjects Message-Id: <199702211559.KAA06984@acc.haverford.edu> Hi Loopers! Firstly, a web page has been established for the Philadelphia / Mid-Atlantic LOOP SHOW, happening next month. The page includes short bios of the four loop acts performing that night, plus pretty decent directions to the venue from all points. No pix yet, but maybe later. Check it out at: http://atomsun.harvard.edu/broadside/loopshow.html Nextly, I've been subscribed to this list since almost day 1, but until Tuesday I didn't have my *JamMan*! Yeah! I love it, and I'm looking forward to doing something musical with it. I'm going to start taking your comments all a lot more seriously now. Later, Jim ********************** My Town: Philadelphia! ------------------------------ Date: Fri, 21 Feb 1997 11:41:43 -0500 From: jspeer@haverford.edu To: Loopers-Delight@annihilist.com Subject: Re: JamMan & MIDI Message-Id: <199702211638.LAA13838@acc.haverford.edu> >Of course, there is the question of whether there are any jahmans left to >buy....anyone know? I bought mine from The Music Place in Berlin, NJ, (609)768-2226... just a few days ago. After I got mine, they had one left. $315. ********************** My Town: Philadelphia! ------------------------------ Date: Fri, 21 Feb 1997 10:57:16 -0600 From: John Pollock To: Loopers-Delight@annihilist.com Subject: Re: Some of us never left Message-id: <330DD3EC.2D00@delphi.com> Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit In an earlier post, I wrote: > > I don't know of anyone eager to return to the days of > >twin reel-to-reels. To which Jim Bailey replied, in part: > Hey! I'm still doin' that street... [snip] ...I still like what happens to the sounds sometimes, not to mention > the little surprises that occasionally come out of nowhere... [snip] ...It's a bit like the > difference between a Mellotron and a string synth, or sampler even. While > both serve the same purpose, they sound considerably different (unless it's > a sample of a Mellotron :-]). > > I don't want to sound like a ranter, or overly sensitive, but yes, there are > still some of us out there. Hey, my _only_ multitrack recorder is a Teac A-3340S! I certainly didn't intend to belittle _any_ technology or its users. My point was that without the efforts of Lexicon, Oberheim/Gibson, and Boomerang, the only options available to would-be loopers would be expensive (e.g., the TCE 2290), nearly impossible to obtain (EH 16-sec, Paradis Loop Delay), or twin reel to reels-- the only financially practical option for many of us. I'm glad that Jim and others are continuing to explore the musical possibilities of reel to reel tape. I have a strong suspicion that many "obsolete" technologies have a lot more to offer than has been discovered so far. My own labors in this particular trench involve the Casio VZ synthesizers. In addition to the implications of their 12-second delay capability (already noted on this list and my Web site), the VZ's combination of modulation possibilities allows creation of extremely long, subtly (or dramatically) changing sounds, containing both repetitive and non-repetitive elements. It's not looping, but there are obvious similarities. John Pollock mailto:johnpollock@delphi.com http://people.delphi.com/johnpollock (Troubador Tech) ------------------------------ Date: Fri, 21 Feb 1997 10:50:31 -0800 From: improv@peak.org (Dave Trenkel) To: Loopers-Delight@annihilist.com Subject: Re: alternate footpedals for JamMonster? Message-Id: Content-Type: text/plain; charset="us-ascii" >While I love my JamSter, I hate that damned footswitch. While rifling >in a box of old cable I found an insert Y-splitter, meaning that there >is one male stereo jack attached to two mono female jacks. One of the F >jacks is marked RING and the TIP (this starting to sound familiar?). >You use these just like a normal insert cable except you use a regular >old 1/4" to 1/4" cable. > >I was thinking that it would be a swell idea to use two sustain pedals >plugged into this Y-dingus and has a slightly more tap friendly pedal >contraption. Will this work? Do I need the normally open kind or the >normally closed? > I have an old pedal that is a pair of piano-style sustain pedals in one housing, with a stereo plug. I'm not sure who made it, I'm not even sure where I got it, but it works GREAT as a tap/bypass pedal. It just feels the most accurate for grabbing loops in rhythm, compared to the stock JamMan pedals and Midi program changes. This may just be my own perception, but the drummer I play with has noticed the difference in my looping. ________________________________________________________ Dave Trenkel, NEW EMAIL ADDRESS: improv@peak.org self promotional web-site: http://www.peak.org/~improv/ "A squid eating dough in a polyethelene bag is fast and bulbous, got me?" -Captain Beefheart ________________________________________________________ ------------------------------ Date: Fri, 21 Feb 1997 10:48:21 -0700 From: Chris Chovit To: Loopers-Delight@annihilist.com Subject: Re: alternate footpedals for JamMonster? Message-Id: Content-Type: text/plain; charset="us-ascii" I am interested in making one box which has all the switches for my looping setup (2 EDP's & 2 JamMan's). I am envisioning reproducing the EDP footswitch (w/ an A/B box to switch between the two EDP's) and having 4 switches for each JamMan (to utilize all the footswitching capability). My question is: What types of switches do each of the units use? Are they all momentary switches? normally open or normally closed? - chris --------------------------------