------------------------------ Content-Type: text/plain Loopers-Delight-d Digest Volume 97 : Issue 35 Today's Topics: Re: Musicianship, live technique, et [ cmeyer@cybmotion.com (Chris Meyer) ] DOD DFX94 Delay/Sampler [ Adam Levin ] Mark Hewins [ Paolo Valladolid ] Casio VZ Synth [ Mark HEWINS ] Re: JamMan & MIDI [ John Pollock ] Re: les paul [ BobbyZZZ@aol.com ] archiving [ matthias@bahianet.com.br (Matthias ] Re: les paul [ matthias@bahianet.com.br (Matthias ] Re: archiving [ kflint@annihilist.com (Kim Flint) ] Re: DOD DFX94 Delay/Sampler [ Dan Howarth ] New web stuff [ kflint@annihilist.com (Kim Flint) ] Administrivia: Looper's Delight **************** Please send posts to: Loopers-Delight@annihilist.com Don't send them to the digest! To subscribe/unsubscribe to the Loopers-Delight digest version, send email with "subscribe" (or "unsubscribe") in both the subject and the body, with no signature files, to: Loopers-Delight-d-request@annihilist.com To subscribe/unsubscribe to the real Loopers-Delight list, send email with "subscribe" (or "unsubscribe") in both the subject and the body, with no signature files, to: Loopers-Delight-request@annihilist.com Check the web page for archives and lots of other goodies! http://www.annihilist.com/loop/loop.html Your humble list maintainer, Kim Flint kflint@annihilist.com ------------------------------ Date: Fri, 21 Feb 1997 14:43:35 -0800 (PST) From: cmeyer@cybmotion.com (Chris Meyer) To: Loopers-Delight@annihilist.com Subject: Re: Musicianship, live technique, etc... Message-Id: Content-Type: text/plain; charset="us-ascii" >>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. >> >For one thing, you don't have to look at each other to communicate. True. Really excellent monitoring (and knowing the people you are playing with) can be an ideal substitute for eye contact. I was in one band for awhile where we would play in a cramped storage shed behind the leader's house. It was so cramped, we could not set up in a way that would also allow line of site between us. Headphone monitoring gave such intimate detail on what each other is doing, however, that it worked fine (as long as everyone is being sensitive - _very_ important). In the band I play in now, I know if I can't hear myself clearly through the monitors, I start throwing in more and more sounds, and usually end up making a more dense, less sensitive contribution. Even after two years with the ssame guys. >>The reason I bring this up is that I've noticed that when I work with my >>new partner, that we almost never make eye contact and musically I'm >>finding it hard to connect - it seems like we're having two monologues >>rather than a conversation. Until you build a real connection with the other person, you will need other tools such as eye contact. Realize that some musicians never get into the give and take situation of sharing space with someone else in a realtime context - doesn't mean they're bad; it's just where their head is at. Another interesting challenge has been the introduction of actors/readers into the band, who don't have a history of communicating in an improvisational musical context. We spent a lot of time trying to read their body english to see when they were going to come in and sit out; they eventually learned the ebb and flow of the band so they knew where the better places to come in where. OTOH, when people are being sensitive and using common sense, it is amazing how things can click together. Fripp and Summers claim before they did their album together, they spent hours sitting directly in front of each other, staring at each other, playing just acoustic guitars - to make sure they know it would work. Eye contact and a nod never hurt. >and can be >surprisingly difficult even for experienced musicians. The idea is to >develop a set of tools for improvising, kind of like licks that you fall >back on while thinking of your next brilliant statement in a solo. I heartily agree with this. Some people are so focused on being artists 100% of the time, they either succeed spectacularly or fail spectacularly. If they can't think of what to say (musically or vocally) in an improv setting, sometimes they try to force through something inappropriate, end prematurely, etc. I think in moments like that, it is great to have a toolchest of things to fall back on when inspiration isn't striking in realtime. Being a looper, it is nice to be able to fall back on the loop to carry your roll, and then only add in other statements when you feel inspired. >Another thing that works is to set up a game plan for the improvised piece >before you start. Try thinking of a structure, like alternating crescendos >and decrescendos, or somthing. Try writing out improvisational structures >away from your instruments and then playing them. Our band leader calls them a "flight path." The details aren't spelled out; just the general energies and spaces - the arc of energy through the piece. >>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. Our band leader has hand signals for things like less dense, more dense, rhythmic, ambient, etc. that really help sometimes. I am a person with few traditional musical skills, who did everything with exacting precision (and obsessing) in front of a computer. I have joined improv groups on a few occasions, and after the intial "without a net" feeling of panic (which can last for months at first), I greatly enjoy it and revel in it. The main things are to know your instrument (whatever it is - from an acoustic guitar to a complex rack of signal processors) so you can get what you want out of it quickly, have confidence in what you can do, and to be relaxed with those you are improvising with. And not to have any bad eggs - nothing is more depressing than being in an improv group where, say, three people are really in sync, and the fourth isn't happy and is purposely trying to throw in musical monkey wrenches (happened to me years ago). Oh, and record everything!!! - CM \ Chris & Trish Meyer/CyberMotion: Motion Graphics Design & Effects \ cmeyer@cybmotion.com & cybertrish@aol.com fax: (818) 598 3957 \__________________________________________________________________ ------------------------------ Date: Fri, 21 Feb 1997 18:02:58 -0500 (EST) From: Adam Levin To: Loopers-Delight@annihilist.com Subject: DOD DFX94 Delay/Sampler Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Does anyone have any insights into this pedal (i.e. how/if it would work for a live looping situation)? -Adam --- "...if one strives at hearing for the sake of constant virtue, out of seeking liberation from cyclic existence, gradually one becomes a Hearer." - Chandrakirti ------------------------------ Date: Fri, 21 Feb 1997 16:35:22 -0800 (PST) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Mark Hewins Message-Id: <199702220035.QAA29013@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit I just thought I'd mention that Mark has an excellent solo guitar CD entitled _the electric guitar_. He gets a pretty amazing variety of tones given there are no overdubs or effects other than a plate reverb. The music is kind of in Jim O'Rourke territory (I only say this because there's little else to compare Mark's CD to). While I sometimes wonder "How the heck did he do this/that?" I find it very listenable for a Cd in the "experimental guitar" vein. Welcome to the list, Mark! Paolo Valladolid --------------------------------------------------------------- |Moderator of Digital Guitar Digest, an Internet mailing list |\ |for Music Technology and Stringed Instruments | \ ---------------------------------------------------------------- | \ finger pvallado@waynesworld.ucsd.edu for more info \ | \ http://waynesworld.ucsd.edu/DigitalGuitar/home.html \| ----------------------------------------------------------------- ------------------------------ Date:Fri, 21 Feb 1997 20:40:00 -0500 From: "Bailey, Jim" To: looppost Subject: Some of us... Message-ID: <330E4D83@pcsmtp.cmail.southam.ca> >Hey, my _only_ multitrack recorder is a Teac A-3340S! (Oh, how I lusted for one of those - as well as a few other things not quite so mechanical - but the price was too steep on both counts %~}) ) >I certainly didn't intend to belittle _any_ technology or its users. I realise this. Perhaps I should have included a few more smileys to show that I wasn't actually offended. >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. This is very true. Also, thanks to Mark Hewins for the info on the Canterbury site. I've been into that stuff for over twenty years now, and try to catch a gig or two by some member of the fraternity on my too infrequent trips to the UK. I actually had the embarassing honour of having Stephen Miller lend me a pound to get back home once, after I had spent too much on beer at one of the weekly pub gigs he was doing in '85, with Lol Coxhill as guest (I did pay him back the next week, when Elton Dean was the guest). But enough name dropping, here's a second to the motion to check these guys out. Jim B. ------------------------------ Date: Fri, 21 Feb 1997 21:01:09 From: pk@mainstring.win.net (Pat Kirtley) To: Loopers-Delight@annihilist.com Subject: "Jamman" up for a Grammy Message-ID: <863@mainstring.win.net> Chet Atkins is now playing weekly every Monday evening at the Caffe Milano in downtown Nashville, and is incorporating a little live looping in each performance. I went down to see him there last Monday (2/17) and spoke with him for a few minutes after the show. I told him about the Looper's Delight group on the internet and explained what it was about. He seemed amazed that there would be this degree of interest in looping. He has two Jammen @ 32s memory. He was also amazed to hear that Lexicon had discontinued the unit! (take note Lex). When he performs with the unit, he first explains a bit about what's happening, for the benefit of unsuspecting audiences, and says that with such a unit, "you can be your own miniature Les Paul". He also describes Les Paul's first home-brew looping machine (late 1940's) which was dubbed the "Les Paulverizer". Some encouraging news for loopers-- Chet's tune "Jam Man" from his album "Almost Alone" is nominated for a Grammy. It's his only tune so nominated in the last three years. Pat Kirtley ---------------------- pk@mainstring.win.net www.win.net/mainstring ------------------------------ Date: Sat, 22 Feb 1997 03:03:43 -0500 From: Michael Peters To: "'INTERNET:Loopers-Delight@annihilist.com'" Subject: RE: "Jamman" up for a Grammy Message-ID: <199702220303_MC2-1196-AC0E@compuserve.com> Pat, > He also describes Les Paul's first home-brew looping machine (late 1940's) which was dubbed the "Les Paulverizer". Never heard of that before - did Chet tell you about the "Les Paulverizer"? What kind of device was it? How did it work? I'd love to include this info in our "History of Looping" webpage. Michael Peters mpeters@compuserve.com http://ourworld.compuserve.com/homepages/mpeters ------------------------------ Date: Sat, 22 Feb 1997 03:58:37 -0800 From: improv@peak.org (Dave Trenkel) To: Loopers-Delight@annihilist.com Subject: Re: Some of us.../Canterbury Message-Id: Content-Type: text/plain; charset="us-ascii" >>Hey, my _only_ multitrack recorder is a Teac A-3340S! >(Oh, how I lusted for one of those - as well as a few other things not quite >so mechanical - but the price was too steep on both counts %~}) ) > A few years ago I scored a Tascam 32 1/2 track deck in exchange for a few hours of computer work. I use it for tape loops all the time. Now if I could only find another at the same price... >Also, thanks to Mark Hewins for the info on the Canterbury site. I've been >into that stuff for over twenty years now, and try to catch a gig or two by >some member of the fraternity on my too infrequent trips to the UK. I >actually had the embarassing honour of having Stephen Miller lend me a pound >to get back home once, after I had spent too much on beer at one of the >weekly pub gigs he was doing in '85, with Lol Coxhill as guest (I did pay >him back the next week, when Elton Dean was the guest). But enough name >dropping, here's a second to the motion to check these guys out. > Oh yeah, absolutely. I spent way too much of my mis-spent youth transcribing Hugh Hopper's bass lines from the Soft Machine records. It paid off though, I actually got to sub for him once, playing his tunes! ________________________________________________________ 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: Sat, 22 Feb 1997 12:11:39 GMT From: Mark HEWINS To: Loopers-Delight@annihilist.com Subject: Re: Some of us... Message-Id: <2.2.16.19970222121337.3bdf6c0a@musart.sonnet.co.uk> Content-Type: text/plain; charset="us-ascii" Hi Lo_oP ers.... >>twin reel to reels-- the only financially practical >>option for many of us. I agree entirely, also there is a question of sound density with analog tape and digital processors which needs including in the equation. >Also, thanks to Mark Hewins for the info on the Canterbury site. I've been >into that stuff for over twenty years now, and try to catch a gig or two by >some member of the fraternity on my too infrequent trips to the UK. I >actually had the embarassing honour of having Stephen Miller lend me a pound >to get back home once, after I had spent too much on beer at one of the >weekly pub gigs he was doing in '85, with Lol Coxhill as guest (I did pay >him back the next week, when Elton Dean was the guest). But enough name >dropping, here's a second to the motion to check these guys out. We're still doing them gigs, last was in January with Phil Miller (MIDI Guitar) Steve Miller (yes, they're brothers) Grand Piano and me, as a trio. The concert was in a 'classical' type hall with amazing focused acoustics. The reverb setting could be termed 'medium hall' I suppose, but it did'nt sound like a pre-set in a box. Some thoughts on the Earthlight studio's guy who plays in the cave with an e-bow and an acoustic twice a year... I'm so sorry I can't remember your name I think being able to use an ambient environment with 'real' reverb as an adjunct to the Music is something which has endless possibilities.... Not only in terms of presenting the music in the best way possible. I have some plans for the millennium to do something different (hopefully) with this idea... However if you play in Grand Central station, you will be arrested! For those who have asked about my 1st. solo record. 'The Electric Guitar' (nb. it maybe should have been called 'AN electric Guitar'! ^_^) It was recorded in 1986, but the first recording of the 'physical' playing techniques I use on that particular CD is on the soft HEAP CD 'A veritable centaur' from 1982. P&L>Mark MARK HEWINS < http://www.musart.co.uk/hewins.htm > (try the new CHORD PICKER) < http://www.musart.co.uk/script/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: Sat, 22 Feb 1997 12:11:59 GMT From: Mark HEWINS To: Loopers-Delight@annihilist.com Subject: Casio VZ Synth Message-Id: <2.2.16.19970222121355.3f1f5d1e@musart.sonnet.co.uk> Content-Type: text/plain; charset="us-ascii" Hi everyone on the LO_OP ^_^ John Pollock wrote >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. I worked with Casio in the US on this machine and the FZ samplers when they came out in '87 I think; and I have the complete Casio 'pro audio' line. (now deleted) PG380 Guitar VZ1 Keyboard (the VZ10 & 8M are the rack version) FZ10M's Sampler modules (the FZ1 was the keyboard version) I still run Notator (C-lab) software on Atari. (If it aint broke..etc.etc.) At the same time in a different partition I run the Dr. T editor for the VZ Synth (This is an incredible editor, controlling EVERY SINGLE operator seamlessly) This enables me to edit a sound on the computer, send it to the keyboard, write a RAM card, then stick it straight into the Guitar. The VZ is one of THE most programmable synth's on the planet. I have many sounds as described by John. All created almost out of thin air.... There's a great 'randomise' command on the editor, does it all for you, if you want! ^_^ BTW I have had quite a few messages of welcome to this list. Thanks to everyone who wrote esp. Paulo; and Matthias thanks for the Revox info! Hi everyone!! Great list Kim! Very friendly people, I must say! P&L>M (Sorry someone ^_^ put the wrong URL for the chord picker, now correct) MARK HEWINS < http://www.musart.co.uk/hewins.htm > (try the new CHORD PICKER) < http://www.musart.co.uk/script/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: Sat, 22 Feb 1997 06:42:00 -0600 From: John Pollock To: Loopers-Delight@annihilist.com Subject: Re: JamMan & MIDI Message-id: <330EE998.FEE@delphi.com> Content-type: text/plain; charset=us-ascii Content-transfer-encoding: 7bit Kim Flint wrote: > Of course, there is the question of whether there are any jahmans left to > buy....anyone know? The Musician's Friend "Spring Preview 1997" catalog I received Thursday offers it for $349.99. John Pollock mailto:johnpollock@delphi.com http://people.delphi.com/johnpollock (Troubador Tech) ------------------------------ Date: Sat, 22 Feb 1997 10:34:55 -0500 From: neato@pipeline.com To: Loopers-Delight@annihilist.com Subject: les paul Message-Id: Content-Type: text/plain; charset="us-ascii" >> He also describes Les Paul's first home-brew looping machine (late >1940's) which was dubbed the "Les Paulverizer". neato says: les paul had just about every recording related technique covered years before anyone! he built guitars with a mike for vocals sticking out of it, and a guitar which had the controls for operating some pre recorded tracks behind him...in addition, in the 40's he painstakingly recorded a loop of a friends footsteps and used it as the rhythm for one of his overdubbed masterpieces...he sped guitar tracks up, he looped, he overdubbed... he did it all years before anyone cheers all my mistakes were once acts of genius neato@pipeline com ------------------------------ Date: Sat, 22 Feb 1997 11:12:20 -0500 (EST) From: andre To: Loopers-Delight@annihilist.com Subject: Re: les paul Message-Id: <199702221612.LAA13590@shell.monmouth.com> Content-Type: text/plain; charset="us-ascii" and don't forget, he also had a FIVE track tape deck in 1952, while a big deal is made of Sgt Pepper being on FOUR track 15 years later (and it is a big deal, don't get me wrong!!!) but LP is great kick me if i don't go see him at IRIDIUM one of these monday nights... andre' At 10:34 AM 2/22/97 -0500, you wrote: > >>> He also describes Les Paul's first home-brew looping machine (late >>1940's) which was dubbed the "Les Paulverizer". > >neato says: >les paul had just about every recording related technique covered years >before anyone! he built guitars with a mike for vocals sticking out of it, >and a guitar which had the controls for operating some pre recorded tracks >behind him...in addition, in the 40's he painstakingly recorded a loop of a >friends footsteps and used it as the rhythm for one of his overdubbed >masterpieces...he sped guitar tracks up, he looped, he overdubbed... >he did it all years before anyone >cheers > > all my mistakes were once acts of genius > neato@pipeline com > > > > > ------------------------------ Date: Sat, 22 Feb 1997 12:19:01 -0500 (EST) From: BobbyZZZ@aol.com To: Loopers-Delight@annihilist.com Subject: Re: les paul Message-ID: <970222121900_984616112@emout18.mail.aol.com> In a message dated 2/22/97 11:14:17 AM, you wrote: >and don't forget, he also had a FIVE track tape deck in 1952, while a big >deal is made of Sgt Pepper being on FOUR track 15 years later (and it is a >big deal, don't get me wrong!!!) but LP is great > > >kick me if i don't go see him at IRIDIUM one of these monday nights... > >andre' Les Paul is a national treasure, and if ANY of you have the chance to go see him in NYC, i would STRONGLY urge you to go. he used to play every monday at Fat Tuesdays, i went when i was up in NYC at the CMJ conference....sat directly in front of him at a table by the stage. Les Paul was incredible, played his ass off with just a rhythm guitarist (Lou Pallo, a formidable guitarist himself) and an acoustic bassist. Les can still play like no one else, and after the show he takes the time to hang out with people, talk guitar, sign stuff, etc. Les started it all for us electronic guitarists....way back in '48....incredible!!!! bobby devito/lvx nova ------------------------------ Date: Sat, 22 Feb 1997 15:43:01 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: archiving Message-Id: Content-Type: text/plain; charset="us-ascii" Since after the following old mail there was no interest shown, aehm... *trash the archive*, Kim! Helow, newer list users! I wonder whether you are helped with our archive and whether its worth the effort for you to catch up with all that has been said? I think it is, because a lot of fundamental thinking happened when it was all new. I once started the condensed version to save you from diging through all the headers, repetitions and wild mix of different subjects, some of them even outdated. Does anyone apreciate it? It takes some time to do it (it took me 2-3 hours to do what there is). And there is a lot of newer good stuff to add to it. I thought that someone who is about to study the archive might be the right person to do this work because - he is going through the mails anyway and copy pasting is quick - he is one of those that profit from our initial work, so its fair What do you think? Matthias ------------------------------ Date: Sat, 22 Feb 1997 16:38:59 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: les paul Message-Id: Content-Type: text/plain; charset="us-ascii" >>> He also describes Les Paul's first home-brew looping machine (late >>1940's) which was dubbed the "Les Paulverizer". > >neato says: >les paul had just about every recording related technique covered years >before anyone! he built guitars with a mike for vocals sticking out of it, >and a guitar which had the controls for operating some pre recorded tracks >behind him...in addition, in the 40's he painstakingly recorded a loop of a >friends footsteps and used it as the rhythm for one of his overdubbed >masterpieces...he sped guitar tracks up, he looped, he overdubbed... >he did it all years before anyone >cheers Certainly a genious pionieer... Was any of this, especially the Paulverizer available to public? ------------------------------ Date: Sat, 22 Feb 1997 12:50:26 -0800 From: kflint@annihilist.com (Kim Flint) To: Loopers-Delight@annihilist.com Subject: Re: archiving Message-Id: Content-Type: text/plain; charset="us-ascii" Actually, Ed Drake has done quite a bit of great editing. I should have it up this weekend. It's Jamman related, but actually interesting even if that's not your looper of choice. more is always welcome of course! kim >Since after the following old mail there was no interest shown, aehm... > > *trash the archive*, Kim! > > >Helow, newer list users! > >I wonder whether you are helped with our archive and whether its worth the >effort for you to catch up with all that has been said? >I think it is, because a lot of fundamental thinking happened when it was >all new. > >I once started the condensed version to save you from diging through all >the headers, repetitions and wild mix of different subjects, some of them >even outdated. >Does anyone apreciate it? It takes some time to do it (it took me 2-3 hours >to do what there is). And there is a lot of newer good stuff to add to it. > >I thought that someone who is about to study the archive might be the right >person to do this work because >- he is going through the mails anyway and copy pasting is quick >- he is one of those that profit from our initial work, so its fair > >What do you think? >Matthias ______________________________________________________________________ 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: Sat, 22 Feb 1997 16:04:54 -0700 (MST) From: Dan Howarth To: Loopers-Delight@annihilist.com Subject: Re: DOD DFX94 Delay/Sampler Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII > Does anyone have any insights into this pedal (i.e. how/if it would work > for a live looping situation)? > i think this is the four second delay/infinite repeat/sampler pedal, isn't it? i have the one second version (pedal), but i never use it because i also have a four second rackmount unit. i would recommend this four second pedal if you can't find a jam/echo to work into your budget. also, you avoid the need of a footpedal to control a jam/echo because this unit is already on the floor. of course, you can't expand it... but i get tons of miles out of my four second looper (rack). **************************************************************** ** Dan Howarth, History/Music, University of Arizona, Tucson ** ** http://www.u.arizona.edu/~howarth (under construction) ** **************************************************************** ------------------------------ Date: Sat, 22 Feb 1997 17:29:33 -0800 From: kflint@annihilist.com (Kim Flint) To: Loopers-Delight@annihilist.com Subject: New web stuff Message-Id: Content-Type: text/plain; charset="us-ascii" As promised, Ed Drake's wonderful efforts on the JamMan section of the website are now uploaded. Let's all give Ed a hand for his effort, and take a look at: http://www.annihilist.com/loop/tools/jamman/jamman.html Thanks Ed! This is Ed's first attempt at web publishing, and he did just fine... If you have any ideas for the jamman section, let Ed know at: Ed Drake Also, I uploaded the latest profile page a few days ago. If you are not on the profiles page yet, send your specs to Michael Peters for inclusion in the next version. Michael Peters <100041.247@CompuServe.COM> We are averaging about 1400 page downloads a week now (and rising!), so it's not a bad spot to get a little visibility! As always, ideas and submissions for the website are welcomed and encouraged. Collective effort has made it as good as it is, and it can only get better! thanks 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 --------------------------------