------------------------------ Content-Type: text/plain Loopers-Delight-d Digest Volume 97 : Issue 39 Today's Topics: HELP REQUEST [ Leonardo Cavallo ] Re: HELP REQUEST [ kflint@annihilist.com (Kim Flint) ] Re: Kyma [ Aviansongs@aol.com ] RE: Les Paul [ "Bailey, Jim" ] RE: Musicianship, live technique, et [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ] RE: Musicianship, live technique, et [ Tom Attix ] RE: Musicianship, live technique, et [ Kevin Miller ] Effects Processor with Random Functi [ Mark@asisoftware.com (Mark Kata) ] Re: Effects Processor with Random Fu [ Jim Coker ] Re: Effects Processor with Random Fu [ jspeer@haverford.edu ] Re: Kyma [ Paolo Valladolid ] Re: Kyma [ Neil Goldstein ] Re: noisy computers (was Re: Kyma) [ Jim Coker ] Re: Kyma [ matthias@bahianet.com.br (Matthias ] Loop/Ambient Shows in Philly/NJ area [ "Future Perfect" ] 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: Mon, 3 Mar 1997 09:31:58 +0100 From: Leonardo Cavallo To: Loopers-Delight@annihilist.com Subject: HELP REQUEST Message-ID: <19970303083157541.AAA340@modem3.dinonet.it> Content-Type: text/plain; charset="us-ascii" Hi all loopers I'm new to the world of real time looping. My little experience is based on the repetitive use of computer sampling, pre recorded DATs and the incredible amount of sound layers from my .670ms delay (!!!). Now I'm looking for a looping device: a Jamman or an Echoplex. I found 2 used jamman but I arrived lately: they were already sold. Today I received this message: ---- I have an ehoplex in mint condition with the footswitch. Solid state model from the 70's. Make me an offer if interested.----- I don't know much about the Echoplex... I know in some way it's more efficient and versatile than the jamman (no flame here, please). The price is higher and delay time should be longer. Someone can gimme more tech info about it? And about the 70's models? Some difference or modification in the years, between the old and the new ones? Should I have to take in consideration for serious looping? And for the value? I have not idea of the market value of this item... Any info will be greatly appreciated. (I don't wanna bother you, so email me privately) Thanks Leo ------------------------------ Date: Mon, 3 Mar 1997 09:48:08 -0800 From: kflint@annihilist.com (Kim Flint) To: Loopers-Delight@annihilist.com Subject: Re: HELP REQUEST Message-Id: Content-Type: text/plain; charset="us-ascii" At 9:31 AM 3/3/97, Leonardo Cavallo wrote: >Hi all loopers > >I'm new to the world of real time looping. My little experience is based on >the repetitive use of computer sampling, pre recorded DATs and the >incredible amount of sound layers from my .670ms delay (!!!). >Now I'm looking for a looping device: a Jamman or an Echoplex. >I found 2 used jamman but I arrived lately: they were already sold. >Today I received this message: > >---- I have an ehoplex in mint condition with the footswitch. Solid state >model from the 70's. Make me an offer if interested.----- This is a Maestro Echoplex, a tape delay. It has almost nothing in common with the Oberheim Echoplex Digital Pro that is often discussed on this list. The Oberheim echoplex is the one you seem to be looking for, as it is designed for real-time looping. As for a Jamman/echoplex comparison, we have the beginnings of such a thing on the Looper's Delight Web site. It may help you with your decision. http://www.annihilist.com/loop/tools/Plex_Jamman.html There is other info about both units on the web site, look it over and see if it helps. http://www.annihilist.com/loop/tools/echoplex/echoplex.html http://www.annihilist.com/loop/tools/jamman/jamman.html If you still have questions, just ask..... 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: Mon, 3 Mar 1997 14:32:58 -0500 (EST) From: Aviansongs@aol.com To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-ID: <970303142536_-1573824741@emout03.mail.aol.com> In a message dated 97-03-01 20:27:13 EST, you write: > BTW, I heard of a trackball you can control with your foot! I can > imagine some twisted genius thinking of ways to use it to control > effects/MIDI/looping devices. Where did you hear about this? Who manufactures it? Thanks, Marc ------------------------------ Date:Mon, 3 Mar 1997 15:08:00 -0500 From: "Bailey, Jim" To: looppost Subject: RE: Les Paul Message-ID: <331B2ECC@pcsmtp.cmail.southam.ca> The recent thread regarding Les Paul put me in mind of another early looper, a research scientist up here in the Great White North named Hugh Le Caine. Not only did he create the first practical (and exremely expressive, AND touch sensitive) synthesizer, the Electronic Sackbutt - which never saw commercial release unfortunately, but he also developed something he called the Special Purpose Tape Recorder. This was a device for recording and playing either reels or loops of tape, up to about six at a time, at various, and variable, speeds. No tape delays, but I think it could do reverb. He created a short (about 2 mins.) piece on it called "Dripsody" using only the sound of a single drop of water. These and many other of his inventions are outlined in the excellent biography "The Sackbutt Blues" by Gayle Young. There is also an accompanying record of pieces by Le Caine, most of which were for demonstration purposes, and so are not "finished" works. I'm not sure whether both or either are still available, but if anyone is interested in more information, Gayle can be contacted via the Musicworks website: http://www.web.net/sound/ Some of this info should probably be in the history section. Check with Gayle for what is available. Hope this is of some help. Jim B. ------------------------------ Date: Mon, 3 Mar 1997 13:01:45 -0800 (PST) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-Id: <199703032101.NAA28557@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit > > In a message dated 97-03-01 20:27:13 EST, you write: > > > BTW, I heard of a trackball you can control with your foot! I can > > imagine some twisted genius thinking of ways to use it to control > > effects/MIDI/looping devices. > > Where did you hear about this? Who manufactures it? > Thanks, Marc Read about it in the special "Computer Link" extra section that comes with our local newspaper on Tuesdays. Unfortunately, I forgot the name of the product and the manufacturer. BTW, it's a trackball that sits on the floor and you move it with your foot. 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: Mon, 3 Mar 1997 14:50:17 -0500 (EST) From: Aviansongs@aol.com To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-ID: <970303143445_-836886365@emout06.mail.aol.com> In a message dated 97-03-01 21:53:34 EST, you write: > Another exciting new technology is a chip developed by Analog Devices, > which uses > a very advanced sound creation language > called Csound to generate realtime effects > and instruments. Hopefully, these chips will find their way into the > innards of your favorite gear in the near future. > If you have a computer running at 133Mhz or faster, you can run Csound in real time. The best part about it is that you can download Csound for FREE! They have it at the Keyboard Mag. website - www.keyboardmag.com Marc ------------------------------ Date: Tue, 04 Mar 1997 01:09:19 +0000 From: Klimatic@ix.netcom.com To: Loopers-Delight@annihilist.com Subject: Locking a Jam Man to odd time Midi sequence Message-ID: <331B763E.5FA9@ix.netcom.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Does anyone know a way to lock a Jam Man to a MIDI sequence based on an odd time signature? I know it's basically a preset piece but I wondered if any of you figured out a way around that limitation. ------------------------------ Date: Tue, 4 Mar 1997 02:06:31 -0800 From: "James Reynolds" To: Subject: Re: Locking a Jam Man to odd time Midi sequence Message-Id: <199703041006.CAA30384@dsp.net> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit > Does anyone know a way to lock a Jam Man to a MIDI sequence based on > an odd time signature? I know it's basically a preset piece but I > wondered if any of you figured out a way around that limitation. i accomplished this using opcode's MAX programming environment to bend the rules of midi sync a bit, but maybe there's an advanced sequencer that also lets you do strange things with the sync output. midi sync consists of the message "248" inserted into the outgoing midi stream 24 times per quarter note. so, if you have your jamman set at 4 quarter notes per loop, then it's expecting to receive 96 "pulses" before it restarts the loop. if you want the jamman to sync to a sequence in 5/4, have the sync source send the jamperson 96 pulses equally distributed over the duration of the 5/4 measure. at 60 bpm (i like 'em slow), a 5/4 measure will last 5000 milleseconds, so you would send the jamman a pulse every 52.08333... ms. little detail to worry about: at least for MAX, the resolution of timing objects is generally 1ms, so my algorithm actually divides the measure into durations something like 52ms, 52ms, *53ms*, 52ms, etc., that all add up to exactly 5000ms. one complaint i have about midi sync is that it's not channel-specific -- all 16 channels will receive the same sync (damn midi-standard-folks didn't count on people like me being into polymetrical stuff...) still, if you have two or more midi interfaces you can send different sync on each one. hope this helps... james ------------------------------ Date: Tue, 4 Mar 1997 16:03:55 GMT From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: RE: Musicianship, live technique, etc... Message-Id: <9444.199703041603@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" >It's interesting to contrast these views as they relate to music and how >they relate to painting or drawing. I think if you brought up the subject >of audience's importance to most painters they would give you a long >questioning look, right after they finished laughing. Potential audience >receptivity is a problem for commercial artists, not "fine" artists. I'm >pretty much on the fence, myself. The problem is that there are artists with talent and artists without. And often artists without talent will hide behind the statement of "it's art". What I meant in my original statement is that, whilst you don't necessarily need to play _at_ an audience, if you expect to play to an audience (more than once!) it helps if they actually like it, rather than the performer hiding behind hyperbole of how it's an expression of an artist's inner soul. >I figure if I don't like what I'm doing, >nobody else will, either (although I've been proven wrong on that >before..). I think Allan Holdsworth regularly disproves that one! :) Michael Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg, Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K. "Wha's like us? Damn few, and they're a' deid!" - Scottish proverb ------------------------------ Date: Tue, 4 Mar 1997 08:38:53 -0800 From: Tom Attix To: "'Loopers-Delight@annihilist.com'" Subject: RE: Musicianship, live technique, etc... Message-Id: While I definitely agree with you on your points and there certainly is no shortage of overblown, ego inflated, crap in both art galleries and record stores, I can't help but think that the best way to succeed as an artist is to pursue your own voice. If you're successful in finding it, your audience will find you ( I know that sounds like particularly sentimental crap but think of artists like Richard Thompson or Robert Fripp or Frank Zappa or David Torn). Tom Attix Software Testing Engineer Microsoft Corporation toma@microsoft.com -----Original Message----- From: pycraft@elec.gla.ac.uk [SMTP:pycraft@elec.gla.ac.uk] Sent: Tuesday, March 04, 1997 8:04 To: Tom Attix Subject: RE: Musicianship, live technique, etc... >It's interesting to contrast these views as they relate to music and how >they relate to painting or drawing. I think if you brought up the subject >of audience's importance to most painters they would give you a long >questioning look, right after they finished laughing. Potential audience >receptivity is a problem for commercial artists, not "fine" artists. I'm >pretty much on the fence, myself. The problem is that there are artists with talent and artists without. And often artists without talent will hide behind the statement of "it's art". What I meant in my original statement is that, whilst you don't necessarily need to play _at_ an audience, if you expect to play to an audience (more than once!) it helps if they actually like it, rather than the performer hiding behind hyperbole of how it's an expression of an artist's inner soul. >I figure if I don't like what I'm doing, >nobody else will, either (although I've been proven wrong on that >before..). I think Allan Holdsworth regularly disproves that one! :) Michael Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg, Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K. "Wha's like us? Damn few, and they're a' deid!" - Scottish proverb ------------------------------ Date: Tue, 4 Mar 1997 12:27:08 -0500 (EST) From: Kevin Miller To: Loopers-Delight@annihilist.com Subject: RE: Musicianship, live technique, etc... Message-Id: <2.2.16.19970304122721.2e0f7b82@postoffice.mail.cornell.edu> Content-Type: text/plain; charset="us-ascii" >What I meant in my original statement is that, whilst you don't necessarily >need to play _at_ an audience, if you expect to play to an audience (more >than once!) it helps if they actually like it, rather than the performer >hiding behind hyperbole of how it's an expression of an artist's inner >soul. Well, this is an interesting point. I think it sometimes helps, at various points in a performance, to inject a little fun, a bit of whimsy. This can stimulate an audience to maintain a connection to whats going on in the other aspects of a performance. Going back to the origins of this discussion, this concept could apply to the question of how to divide up a longish presentation. My first thought was sort of obvious, and someone else has discussed it- insert quieter sections that don't contain as much musical information while preparing for "busier" sections. My second thought was to insert a little fun between longer sections. What popped into my head, and I'm not suggesting anybody do this, was a fairly wacky idea: in stereo, samples of two animals having a conversation- could be two dogs barking at each other in escalating fashion, or a dog and a cat, whatever, possibly over some low drones, building up to the next long "serious" section. This is just one nutty example, possibly amusing only to myself, but the point is that if you can get the audience to at least smile, you've established a stronger connection. Obviously, if your performance is a dedication to the victims of Bosnia, this won't be appropriate, but I can see many instances where something whimsical could serve as a break between pieces. After 30 years of playing, I've discovered that juvenile wackiness is among my _better_ qualities! Just a thought, Kevin > >>I figure if I don't like what I'm doing, >>nobody else will, either (although I've been proven wrong on that >>before..). > >I think Allan Holdsworth regularly disproves that one! :) > >Michael > >Dr Michael Pycraft Hughes Bioelectronic Research Centre, Rankine Bldg, >Tel: (+44) 141 330 5979 University of Glasgow, Glasgow G12 8QQ, U.K. > "Wha's like us? Damn few, and they're a' deid!" - Scottish proverb > > > > ------------------------------ Date: Tue, 4 Mar 1997 12:50:59 -0500 From: Mark@asisoftware.com (Mark Kata) To: "'Loopers-Delight@annihilist.com'" Subject: Effects Processor with Random Function Message-ID: <01BC289A.B75AFF40@mark.asisoftware.com> Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: quoted-printable Does anyone know of an effects processor that produces completely random = and unpredictable effects each time its continuous controller pedal is = pressed? Mark Kata Mark@asisoftware.com ------------------------------ Date: Tue, 04 Mar 1997 12:15:44 -0800 From: Jim Coker To: Loopers-Delight@annihilist.com Subject: Re: Effects Processor with Random Function Message-ID: <331C82F0.332F@interaccess.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Mark Kata wrote: > > Does anyone know of an effects processor that produces completely random and unpredictable effects each time its continuous controller pedal is pressed? > > Mark Kata > Mark@asisoftware.com I'd try using MAX to process the CC pedal and send control messages to other processors. That way you could control multiple devices, and also write simple MAX patches that send out completely random events, or semi-random, or algorithmically generated. jim ------------------------------ Date: Tue, 4 Mar 1997 13:28:28 -0500 From: jspeer@haverford.edu To: Loopers-Delight@annihilist.com Subject: Re: Effects Processor with Random Function Message-Id: <199703041825.NAA06175@acc.haverford.edu> >Does anyone know of an effects processor that produces completely random and >unpredictable effects each time its continuous controller pedal is pressed? I don't know of such a thing that would work on its own. It wouldn't be hard, though, to send program and control change messages down MIDI from, say, a small Mac running MAX. Any multi fx unit that accepts control data will do. J ------------------------------ Date: Tue, 4 Mar 1997 15:12:48 -0800 (PST) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-Id: <199703042312.PAA14416@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit > > In a message dated 97-03-01 21:53:34 EST, you write: > > > Another exciting new technology is a chip developed by Analog Devices, > > which uses > > a very advanced sound creation language > > called Csound to generate realtime effects > > and instruments. Hopefully, these chips will find their way into the > > innards of your favorite gear in the near future. > > > > If you have a computer running at 133Mhz or faster, you can run Csound > in real time. The best part about it is that you can download Csound for > FREE! They have it at the Keyboard Mag. website - www.keyboardmag.com > Marc > > True, but I'd still rather have the sound-realted operations running on a separate processor rather than tying up the CPU of my computer. 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: Tue, 4 Mar 1997 19:21:28 -0800 From: inti@webtv.net (Carlos Carrillo) To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-Id: <199703050321.TAA16658@mailtod-1.alma.webtv.net> Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT Not having to rely on a computer is what interested me most about the Analog Devices chip. I am not completely sure about all of its capabilities, but it wouldn't be hard to imagine a processor which could easily be modified by the user. Think of the new possibilities consumers could explore if we were given the freedom to load up different instrument, effects, recording, or sequencing algorithms. Imagine a rackmount unit that could be a synthesizer, a looper, a pitchshifter, etc. All of this could be manipulated by customizable realtime controllers such as the Peavey PC-1600, or a midi footpedal. I am probably going a little too far with the above description, but wouldn't it be wonderful if a manufacturer had the guts to create a tool of such versatility? Wouldn't it be great if they could trust us to decide what tools and features we need or want? I know home computers and their software can now do a lot, but their unreliable operating systems, noisy hardware, lack of tactile control, and bulk, make for a capricious and sometimes annoying creative tool. Carlos R. Carrillo ------------------------------ Date: Tue, 4 Mar 1997 22:23:39 -0700 (MST) From: Dan Howarth To: "'Loopers-Delight@annihilist.com'" Subject: Re: Effects Processor with Random Function Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII > Does anyone know of an effects processor that produces completely > random and unpredictable effects each time its continuous controller > pedal is pressed? > the digitech studio quad has built in LFOs which can be assigned to modulate any parameter of any effect. the LFO can also be controlled in speed and waveform. i've experimented with these a little, and even on the surface you can create wild sounds. lately i've tried to step out from behind the fx, so to speak, so i haven't programmed any new sounds but i will again soon. i think the eventide units have this LFO/parameter ability. what other units are other? **************************************************************** ** Dan Howarth, History/Music, University of Arizona, Tucson ** ** http://www.u.arizona.edu/~howarth (under construction) ** **************************************************************** ------------------------------ Date: Tue, 4 Mar 1997 23:07:30 -0800 (PST) From: Neil Goldstein To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-Id: Content-Type: text/plain; charset="us-ascii" > I know home computers >and their software can now do a lot, but their unreliable operating >systems, noisy hardware, lack of tactile control, and bulk, make for a >capricious and sometimes annoying creative tool. > I love the power and visual ease of working with a computer but you hit the nail right on the head on why it just sometimes isn't very inspiring or *fun*. Well spoken. I sometimes get tripped up in trying to pick the best tool for the job, and I think I've sort of been "in denial" that sometimes working with the computer is "annoying". Also know there's lots of times I've capturing something with JamMan that I wished I would have first layered and multi-tracked into the computer (Logic Audio being my fav), before it became permanently mixed in mono! Neil ngold@teleport.com Portland, OR USA ------------------------------ Date: Wed, 05 Mar 1997 12:00:44 -0800 From: Jim Coker To: Loopers-Delight@annihilist.com Subject: Re: noisy computers (was Re: Kyma) Message-ID: <331DD0EC.4F53@interaccess.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit I have to aggree with you guys. I've been working with computers on an almost daily basis for many years, but they just don't seem to be as "useable" in a musical context as a dedicated unit w/ tactile controls (buttons & knobs). But on the other hand, computer sequencers are much more flexible than dedicated units. One thing I'm trying that seems to be working well is putting the CPU in a different room. I poked a 2" hole in the wall and put it on the other side (next to the sofa in my living room). Now my 'studio' (studio/darkroom/office/....) is very quiet. It's actually kind of weird to use a computer that doesn't make any noise. There's an article in last months Electronic Musician about cables to do this. jim Neil Goldstein wrote: > > > I know home computers > >and their software can now do a lot, but their unreliable operating > >systems, noisy hardware, lack of tactile control, and bulk, make for a > >capricious and sometimes annoying creative tool. > > > > I love the power and visual ease of working with a computer but you hit the > nail right on the head on why it just sometimes isn't very inspiring or > *fun*. Well spoken. > > I sometimes get tripped up in trying to pick the best tool for the job, and > I think I've sort of been "in denial" that sometimes working with the > computer is "annoying". > > Also know there's lots of times I've capturing something with JamMan that I > wished I would have first layered and multi-tracked into the computer > (Logic Audio being my fav), before it became permanently mixed in mono! > > Neil > ngold@teleport.com > Portland, OR USA ------------------------------ Date: Thu, 6 Mar 1997 02:51:23 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: Re: Kyma Message-Id: Content-Type: text/plain; charset="us-ascii" >Not having to rely on a computer is what interested me most about >the Analog Devices chip. I am not completely sure about all of its >capabilities, but it wouldn't be hard to imagine a processor which could >easily be modified by the user. Think of the new possibilities consumers >could explore if we were given the freedom to load up different >instrument, effects, recording, or sequencing algorithms. Imagine a >rackmount unit that could be a synthesizer, a looper, a pitchshifter, >etc. All of this could be manipulated by customizable realtime >controllers such as the Peavey PC-1600, or a midi footpedal. >I am probably going a little too far with the above description, >but wouldn't it be wonderful if a manufacturer had the guts to create a >tool of such versatility? Wouldn't it be great if they could trust us to >decide what tools and features we need or want? I know home computers >and their software can now do a lot, but their unreliable operating >systems, noisy hardware, lack of tactile control, and bulk, make for a >capricious and sometimes annoying creative tool. Right! We could program the machine according to our capacities: Some use presets, others max, others assembler... We exchange the sounds on the lists or handle them like shareware... And since the thing will have several inputs, we can configure it for polyphonic (mostly hexaphonic) guitar or to organize our tape loops ;-> And when its set up, we can take the one unit 19" thing (!) to stage without needing a monitor, since we set it all up to operate from the only big foot pedal... A dream, but not very far Matthias ------------------------------ Date: Thu, 6 Mar 1997 12:01:37 -0500 From: "Future Perfect" To: Subject: Loop/Ambient Shows in Philly/NJ area Message-Id: <199703061658.KAA14133@smtp.gte.net> Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: 7bit Hi! My duo will be travelling to the Philly/NJ area at the end of May to play a few shows in that area...I was wondering if any ambient/loop shows were being planned up there between May 28 and June 16, as we would love to be a part of one. Also, if anyone up there has any ideas about more places to play in that area, please let us know. Thanks!! Dave & Misha Future Perfect " 'Do' or 'do not', there is no 'try' " - Yoda, Jedi Master --------------------------------