------------------------------ Content-Type: text/plain Loopers-Delight-d Digest Volume 97 : Issue 4 Today's Topics: Re: JamMan Rumors (attempt 2!) [ James Coker ] Re[2]: JamMan Rumors (attempt 2!) [ "Todd Madson" ] Re: hex fuzz [ Dpcoffin@aol.com ] Re: JamMan Rumors (attempt 2!) [ JOHNPOLLOCK@delphi.com ] square wave help [ Dan Howarth ] Re: another survey question [ erik simpson To: Loopers-Delight@annihilist.com Subject: Re: JamMan Rumors (attempt 2!) Message-ID: <32D3B4BC.BC7@interaccess.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jon Durant wrote: > > The big issue is: is there a market out there? So far the returns on Jam/Plex > etc have indicated not. If someone asked me if I'd be involved in a company that > made *only* looping devices, I'd say no. Too risky. But a new effect/processing > company with a little bit of creative vision *is* a real option. Consider how > many people hate Digitech/Alesis/etc but still buy the stuff anyway. Well, what > if someone new came in and answered the issues, made the right products at the > right prices. Thought about the user for a change. Hmmm.... I have to agree with Mr. Durant here. I think the market for a dedicated looping device is rather small, but a truly interesting and flexible effects device could be a different story entirely. Off and on for the past several weeks I've been looking at products such as SuperCollider and Kyma for creative sound maipulation. Both of these products allow one virtually unlimited creativity in sound production. How about a Vortex Fractal B patch with four dual delay paths, each delay adjustable from a few millisecs to several seconds, with various lfo's to control panning, and perhaps some FM thrown in for good measure? SuperCollider is a relatively inexpensive ($300) program for power macintoshes that uses the CPU for signal processing. It can input straight from the mac's sound in ports, and send the sound right back out. The bad part is that thanks to various output buffers, there is a minimum delay from signal input to signal output, which in the few tests I've been able to do with the demo program, is a minimum of around 0.4 seconds. That is workable for doing loops, but very frustrating otherwise, particularly given its ability for tonal modifications. Another issue with SuperCollider is that it's patches are written in a relatively terse lisp dialect. This is great if you're a programmer, anything can be modifed sample by sample, but would suck if all you want to do is modify a few obvious parameters. SuperCollider does have the ability to build simple dialogs to control parameters, though. The Kyma system is just about opposite in all ways. It is *VERY* expensive, at $4500, does not have a large minimum delay (reportedly 10ms for most operations), and does have a graphic patch editor. Kyma comes with a DSP mainframe that holds 8 cards, each with a 66MHz 56K DSP chip and 3MB ram for samples. The base unit (included in the price) comes with two cards. Add a couple more cards ($600 each) and you can do some truly outrageous stuff, such as a detailed FFT analysis of the signal, modify the analysis data in the frequency domain, then resynthesize it, all in real time (but with a 0.5 sec or so delay). I doubt that even Eventide can do pitch shifting that accurately. So, Kyma is very nice, but proprietary hardware makes me nervous, what with dual CPU 250 MHz Macs coming on the scene, and, well, gosh, that price is a bit steep. Though, giving them credit, it's not that bad compared to say an Eventide 4000, and there really isn't any competition for it. The approach I'd like to take is to build a simple PCI card to provide high quality analog ins and outs with very little delay, modify SuperCollider to use that card for i/o, and build a gui patch editor for it. The selling price could easily be kept under $1000 (or less?). That doesn't include the computer, but then many folks have them anyway, and the software/audio-io card solution avoids investing in proprietary hardware. In return, you get a sound creation/manipulation platform that is utterly flexible. Someone could program it to be the ultimate analog synth, or try physical modeling, or build a guitar synth that merges the two, have bizzare arpeggiators track audio signals without midi conversion delays. And then add a second i/o card for quadraphonic sound...with quadraphonic delays, of course! Jim ------------------------------ Date: Wed, 08 Jan 1997 14:31:40 +0000 From: James Coker To: Loopers-Delight@annihilist.com Subject: Building an FX Device Message-ID: <32D3AFB6.2BFC@interaccess.com> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Jon Durant wrote: > > > The big issue is: is there a market out there? So far the returns on Jam/Plex > etc have indicated not. If someone asked me if I'd be involved in a company that > made *only* looping devices, I'd say no. Too risky. But a new effect/processing > company with a little bit of creative vision *is* a real option. Consider how > many people hate Digitech/Alesis/etc but still buy the stuff anyway. Well, what > if someone new came in and answered the issues, made the right products at the > right prices. Thought about the user for a change. Hmmm.... I have to agree with Mr. Durant here. I think the market for a dedicated looping device is rather small, but a truly interesting and flexible effects device could be a different story entirely. Off and on for the past several weeks I've been looking at products such as SuperCollider and Kyma for creative sound maipulation. Both of these products allow one virtually unlimited creativity in sound production. How about a Vortex Fractal B patch with four dual delay paths, each delay adjustable from a few millisecs to several seconds, with various lfo's to control panning, and perhaps some FM thrown in for good measure? SuperCollider is a relatively inexpensive ($300) program for power macintoshes that uses the CPU for signal processing. It can input straight from the mac's sound in ports, and send the sound right back out. The bad part is that thanks to various output buffers, there is a minimum delay from signal input to signal output, which in the few tests I've been able to do with the demo program, is a minimum of around 0.4 seconds. That is workable for doing loops, but very frustrating given the tonal modifications it can do. Another issue with SuperCollider is that it's patches are written in a relatively terse lisp dialect. This is great if you're a programmer, anything can be modifed sample by sample, but would suck if all you want to do is modify a few obvious parameters. SuperCollider does have the ability to build simple dialogs to control parameters, though. The Kyma system is just about opposite in all parameters. It is *VERY* expensive, at $4500, does not have a large minimum delay (reportedly 10ms for most operations), and does have a graphic patch editor. Kyma comes with a DSP mainframe that holds 8 cards, each with a 66MHz 56K DSP chip and 3MB ram for samples. The base unit (included in the price) comes with two cards. Add a couple more cards ($600 each) and you can do some truly outrageous stuff, such as a detailed FFT analysis of the signal, modify the analysis data in the frequency domain, then resynthesize it, all in real time (but with a 0.5 sec or so delay). I doubt that even Eventide can do pitch shifting that accurately. So, Kyma is very nice, but proprietary hardware makes me nervous, what with dual CPU 250 MHz Macs coming on the scene, and, well, gosh, that price is a bit steep. Though, giving them credit, it's not that bad compared to say an Eventide 4000, and there really isn't any competition for it. The approach I'd like to take is to build a simple PCI card to provide high quality analog ins and outs with very little delay, modify SuperCollider to use that card for i/o, and build a gui patch editor for it. The selling price could easily be kept under $1000 (or less?). That doesn't include the computer, but then many folks have them anyway, and the software/expansion card solution avoids investing in proprietary hardware. In return, you get a sound creation/manipulation platform that is utterly flexible. Someone could program it to be the ultimate analog synth, or try physical modeling, or build a guitar synth that merges the two, have bizzare arpeggiators track audio signals without midi conversion delays. And then add a second i/o card for quadraphonic sound...with quadraphonic delays, of course! Jim ------------------------------ Date: Wed, 8 Jan 97 16:12:26 EST From: angel@matisse.pet.upenn.edu (Emmanuel Angel) To: Loopers-Delight@annihilist.com Subject: hex fuzz Message-Id: <9701082112.AA27422@matisse.pet.upenn.edu.noname> Kevin and Michael contributed ... >Michael Wrote... > >> Would there be a market for the Hex Fuzz simulator - 10 narrow bandpass >> filters with fuzz ccts following, so that if you play a chord each note >> falls into a different filter and gets fuzzed (ie converted to square wave) >> separately? Ideal for the Robert Fripp types. And so on. > >That almost describes the Roland GR100 module perfectly, except that the hex >fuzz signal paths are combines internally. I'm thinking that even narrow bandpass filters will grunge up pretty badly. Many unpleasant fuzz effects come from minor 3rds, 2nds, minor 2nds, etc., and these are all too common in guitar chord voicings. I'm sure that prefiltering into multi-fuzzes sounds different, but I'm guessing that the only a hex pixup will give independent processing. But then, a "Hex Fuzz simulator" may offer some nice qualities of its own. On another topic, if anyone out there is knowledgable about using Power Macs for recording to disk, I'm looking for some advice for home studio applications. I'm considering buying a PM in lieu of (at least fore awhile) an ADAT. Feel free to reply directly to me. Mickey ____________________________________________________________________________ Emmanuel Angel Nuclear Medicine Physics and Instrumentation Group 401 Blockley Hall University of Pennsylvania Philadelphia, PA 19104 (215) 662-7214 angel@matisse.pet.upenn.edu ------------------------------ Date: Wed, 08 Jan 97 15:26:41 CST From: "Todd Madson" To: Loopers-Delight@annihilist.com, ToddM@lasermaster.com Subject: Re: hex fuzz Message-Id: <9700088527.AA852765926@ccmailgate.LaserMaster.Com> Hey! I actually owned a GR100 for about seven years, along with the Roland G202 guitar and I really regret selling it - that was a really fun guitar as far as creating unusual textures goes - it was somewhere between a guitar and a synth, sort of orchestral and the lead tones were gorgeous. Chords were a real trip since they didn't give you that power chord sound standard pickups through an overdrive gave you...what was cool was taking the power chord type sound and mixing it with the hex fuzz for a really powerful sound. Todd Madson. _______________________________________________________________________________ Subject: hex fuzz From: Loopers-Delight@annihilist.com at Internet Date: 1/8/97 3:10 PM >Message was resent -- Original recipients were: To: Loopers-Delight@annihilist.com-------------------------------------------------- ----------------------------- Kevin and Michael contributed ... >Michael Wrote... > >> Would there be a market for the Hex Fuzz simulator - 10 narrow bandpass >> filters with fuzz ccts following, so that if you play a chord each note >> falls into a different filter and gets fuzzed (ie converted to square wave) >> separately? Ideal for the Robert Fripp types. And so on. > >That almost describes the Roland GR100 module perfectly, except that the hex >fuzz signal paths are combines internally. I'm thinking that even narrow bandpass filters will grunge up pretty badly. Many unpleasant fuzz effects come from minor 3rds, 2nds, minor 2nds, etc., and these are all too common in guitar chord voicings. I'm sure that prefiltering into multi-fuzzes sounds different, but I'm guessing that the only a hex pixup will give independent processing. But then, a "Hex Fuzz simulator" may offer some nice qualities of its own. On another topic, if anyone out there is knowledgable about using Power Macs for recording to disk, I'm looking for some advice for home studio applications. I'm considering buying a PM in lieu of (at least fore awhile) an ADAT. Feel free to reply directly to me. Mickey ____________________________________________________________________________ Emmanuel Angel Nuclear Medicine Physics and Instrumentation Group 401 Blockley Hall University of Pennsylvania Philadelphia, PA 19104 (215) 662-7214 angel@matisse.pet.upenn.edu Received: from spica.LaserMaster.Com by ccmailgate.LaserMaster.Com (SMTPLINK V2.10.08) ; Wed, 08 Jan 97 15:10:43 CST Return-Path: Received: from ferret.slip.net (ferret.slip.net [204.160.88.6]) by spica.LaserMaster.Com (8.7.3/8.6.9) with SMTP id PAA13586 for ; Wed, 8 Jan 1997 15:21:31 -0600 (CST) Received: from lists by ferret.slip.net with local (Exim 0.57 #1) id 0vi5Js-0005Ir-00; Wed, 8 Jan 1997 13:13:56 -0800 Date: Wed, 8 Jan 97 16:12:26 EST From: angel@matisse.pet.upenn.edu (Emmanuel Angel) Message-Id: <9701082112.AA27422@matisse.pet.upenn.edu.noname> To: Loopers-Delight@annihilist.com Subject: hex fuzz Resent-Message-ID: <"vPVr4B.A.E3E.z2A1y"@ferret> Resent-From: Loopers-Delight@annihilist.com Reply-To: Loopers-Delight@annihilist.com X-Mailing-List: archive/latest/1589 X-Loop: Loopers-Delight@annihilist.com Precedence: list Resent-Sender: SmartList Resent-To: ToddM@lasermaster.com Resent-Date: Wed, 8 Jan 1997 13:13:56 -0800 ------------------------------ Date: Wed, 8 Jan 1997 17:39:16 -0700 (CST) From: Kevin Simonson To: Loopers-Delight@annihilist.com Subject: Re: hex fuzz Message-Id: <199701082339.AA121016756@eagle.uis.edu> Content-Type: text Content-Length: 1129 > > I'm thinking that even narrow bandpass filters will grunge up pretty > badly. Many unpleasant fuzz effects come from minor 3rds, 2nds, minor > 2nds, etc., and these are all too common in guitar chord voicings. > I'm sure that prefiltering into multi-fuzzes sounds different, but > I'm guessing that the only a hex pixup will give independent processing. > But then, a "Hex Fuzz simulator" may offer some nice qualities of its > own. To digress further from the list subject matter, Craig Anderton's Quadrafuzz unit kit from Paia seperates incoming signals into four discreet channels, and then applies a fuzz process to each one. Has anyone compiled a list of potentially useful delays, ie. 3 seconds+ ? I would certainly be open to starting one. If you are aware of devices that fit this description, please email me privately, and I will compile the list. Anything goes! Thanks -- Kevin Simonson * AS/400 Application Development Team University of Illinois-Springfield * Norwest Mortgage, Inc. Computer Science, et al. * Springfield, IL simonson@eagle.uis.edu * ------------------------------ Date: Wed, 08 Jan 97 17:47:12 CST From: "Todd Madson" To: Loopers-Delight@annihilist.com, ToddM@lasermaster.com Subject: Re[2]: JamMan Rumors (attempt 2!) Message-Id: <9700088527.AA852774323@ccmailgate.LaserMaster.Com> Guys: Try Macromedia's Deck II, which is bundled along with SoundEdit16. It allows multi-track recording and access to Adobe Premiere plug-ins and does real time, non-destructive editing. I've played live, heavily distorted wailing guitars that have been vortexed into Deck II and further processed them there. The demo version of Deck II is FREE with January's MacAddict magazine CD-ROM - get it while you can as there also is a free copy of SoundEdit16's demo version as well as Peak by Bias, among other super cool sound software including all the demo CybersoundFX (chorus, flange, pitch shift, reverb, delay, compression, etcetera). Get it! Todd Madson. _______________________________________________________________________________ Subject: Re: JamMan Rumors (attempt 2!) From: Loopers-Delight@annihilist.com at Internet Date: 1/8/97 2:48 PM >Message was resent -- Original recipients were: To: Loopers-Delight@annihilist.com-------------------------------------------------- ----------------------------- Jon Durant wrote: > > The big issue is: is there a market out there? So far the returns on Jam/Plex > etc have indicated not. If someone asked me if I'd be involved in a company that > made *only* looping devices, I'd say no. Too risky. But a new effect/processing > company with a little bit of creative vision *is* a real option. Consider how > many people hate Digitech/Alesis/etc but still buy the stuff anyway. Well, what > if someone new came in and answered the issues, made the right products at the > right prices. Thought about the user for a change. Hmmm.... I have to agree with Mr. Durant here. I think the market for a dedicated looping device is rather small, but a truly interesting and flexible effects device could be a different story entirely. Off and on for the past several weeks I've been looking at products such as SuperCollider and Kyma for creative sound maipulation. Both of these products allow one virtually unlimited creativity in sound production. How about a Vortex Fractal B patch with four dual delay paths, each delay adjustable from a few millisecs to several seconds, with various lfo's to control panning, and perhaps some FM thrown in for good measure? SuperCollider is a relatively inexpensive ($300) program for power macintoshes that uses the CPU for signal processing. It can input straight from the mac's sound in ports, and send the sound right back out. The bad part is that thanks to various output buffers, there is a minimum delay from signal input to signal output, which in the few tests I've been able to do with the demo program, is a minimum of around 0.4 seconds. That is workable for doing loops, but very frustrating otherwise, particularly given its ability for tonal modifications. Another issue with SuperCollider is that it's patches are written in a relatively terse lisp dialect. This is great if you're a programmer, anything can be modifed sample by sample, but would suck if all you want to do is modify a few obvious parameters. SuperCollider does have the ability to build simple dialogs to control parameters, though. The Kyma system is just about opposite in all ways. It is *VERY* expensive, at $4500, does not have a large minimum delay (reportedly 10ms for most operations), and does have a graphic patch editor. Kyma comes with a DSP mainframe that holds 8 cards, each with a 66MHz 56K DSP chip and 3MB ram for samples. The base unit (included in the price) comes with two cards. Add a couple more cards ($600 each) and you can do some truly outrageous stuff, such as a detailed FFT analysis of the signal, modify the analysis data in the frequency domain, then resynthesize it, all in real time (but with a 0.5 sec or so delay). I doubt that even Eventide can do pitch shifting that accurately. So, Kyma is very nice, but proprietary hardware makes me nervous, what with dual CPU 250 MHz Macs coming on the scene, and, well, gosh, that price is a bit steep. Though, giving them credit, it's not that bad compared to say an Eventide 4000, and there really isn't any competition for it. The approach I'd like to take is to build a simple PCI card to provide high quality analog ins and outs with very little delay, modify SuperCollider to use that card for i/o, and build a gui patch editor for it. The selling price could easily be kept under $1000 (or less?). That doesn't include the computer, but then many folks have them anyway, and the software/audio-io card solution avoids investing in proprietary hardware. In return, you get a sound creation/manipulation platform that is utterly flexible. Someone could program it to be the ultimate analog synth, or try physical modeling, or build a guitar synth that merges the two, have bizzare arpeggiators track audio signals without midi conversion delays. And then add a second i/o card for quadraphonic sound...with quadraphonic delays, of course! Jim Received: from spica.LaserMaster.Com by ccmailgate.LaserMaster.Com (SMTPLINK V2.10.08) ; Wed, 08 Jan 97 14:48:53 CST Return-Path: Received: from ferret.slip.net (ferret.slip.net [204.160.88.6]) by spica.LaserMaster.Com (8.7.3/8.6.9) with SMTP id OAA13404 for ; Wed, 8 Jan 1997 14:59:46 -0600 (CST) Received: from lists by ferret.slip.net with local (Exim 0.57 #1) id 0vi4yn-0003yI-00; Wed, 8 Jan 1997 12:52:09 -0800 Message-ID: <32D3B4BC.BC7@interaccess.com> Date: Wed, 08 Jan 1997 14:52:47 +0000 From: James Coker X-Mailer: Mozilla 3.01 (Macintosh; I; PPC) MIME-Version: 1.0 To: Loopers-Delight@annihilist.com Subject: Re: JamMan Rumors (attempt 2!) References: <970108132349_74074.1316_GHQ40-5@CompuServe.COM> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Resent-Message-ID: <"uEw_qC.A.VfD.ghA1y"@ferret> Resent-From: Loopers-Delight@annihilist.com Reply-To: Loopers-Delight@annihilist.com X-Mailing-List: archive/latest/1587 X-Loop: Loopers-Delight@annihilist.com Precedence: list Resent-Sender: SmartList Resent-To: ToddM@lasermaster.com Resent-Date: Wed, 8 Jan 1997 12:52:09 -0800 ------------------------------ Date: Thu, 9 Jan 97 15:36:39 +1000 From: David_Mitchell@HP-Australia-notes1.om.hp.com To: Loopers-Delight@annihilist.com Subject: Re: building our own looper Message-Id: <"72834:1*"@MHS> Item Subject: Lotus Notes Message Text I'd like to see PAiA or a similar company (small, cheap, mailorder, do-it-yourself-kits) come out with a looper. If such a thing was available, I think they'd be hard put to deal with the demand. I know the biggest impediment to me buying a Jamman, Echoplex or Boomerang is $$$ - I just can't justify the cost for a single-purpose effect that I wouldn't be using a lot of the time. For now, I'll stick to my crappy old Boss PS-2 pedal with its 2 seconds of delay. If you consider all the techo knowledge and experience that's on this mailing list, we'd have to be able to spec out a design (assuming everyone suddenly got a few months with nothing else to do!). As an aside: with memory coming down in price so fast recently, I can't see why you'd need to feel limited by sample resolution or sample time any more - just build in provision for the box to take standard SIMMs up to (say) 64Mb. I really hope this discussion in "fanning the creative flames" of someone out there... Dave Mitchell ------------------------------ Date: Wed, 8 Jan 1997 21:40:03 -0800 (PST) From: "A.S.P." To: Loopers-Delight@annihilist.com Subject: Re: building our own looper Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII Hello Loopheads, I've been lurking on this list for a couple of weeks and am enjoying it quite a bit. The reason I got on the list is because I'm seriously contemplating getting an Oberheim Echoplex. I recently finished building my first modular synthesizer. I bought an Emax II sampler to complement it, but I'm finding that non-realtime instruments less and less attractive. One thing I'm trying to figure out is if the Echoplex would be redundant, because I use an analogue sequencer to drive the modular, which in essence is an "analogue" of a tape loop. Do any of you use loop delays with synths and sequencers? One thing I think is really sad is that the Echoplex isn't stereo. The thought of parallel loops and stereo makes my brain feel all gooey inside. BTW, what brought me out of lurk mode: if you are seriously thinking of designing a loop box, you might consider pooling this list's resources with those of synth-diy. Synth-diy is dedicated to building electronic music instruments and processing (mostly analogue, but digital is welcome). Already a diy monosynth for the masses has resulted from this list, not to mention the other projects that are cooking at all times. To subscribe send mail to: majordomo@horus.sara.nl with the line 'subscribe synth-diy' in the message body. Romeo ----- ms20@serv.net ------------------------------ Date: Thu, 9 Jan 1997 01:47:03 -0500 (EST) From: Dpcoffin@aol.com To: Loopers-Delight@annihilist.com Subject: Re: hex fuzz Message-ID: <970109003059_1090387341@emout11.mail.aol.com> In a message dated 1/8/97 5:14:10 PM, a Looper wrote: <> Consider the ROLAND VG-8: hex pickup and a "Poly-manager," which controls how the six signals are blended or kept separate as they go thru the distortion controls...it's really the current s.o.t.art in guitar synthesis. <> Pertentent query! Check out Cubase VST, and Hyperprism for very close to real-time FX, while recording or not, including delays with Hyperprism, which doesn't even require a PowerPC. A Looping "plug-in" with MIDI control doesn't seem like a lot to ask for...maybe even quite easily hack-able...??? David ------------------------------ Date: Thu, 09 Jan 1997 02:46:34 -0500 (EST) From: JOHNPOLLOCK@delphi.com To: Loopers-Delight@annihilist.com Subject: Re: JamMan Rumors (attempt 2!) Message-id: <01IDZRWYINW28ZHUBM@delphi.com> Content-type: TEXT/PLAIN; CHARSET=US-ASCII Content-transfer-encoding: 7BIT Jon wrote, re the Ultimate Looper; >The big issue is: is there a market out there? So far the returns on >Jam/Plex etc have indicated not. I think there is, but fragmented in such a way that communication with the various elements of the market would be difficult. There have to be horn players, violinists, harmonica players, etc. who'd love to have enough of "their playing, only more of it" to be able to perform without a band. There has to be a significant number of vocalists who'd like to do a Bobby McFerrin-like act, but maybe can't pull it off without electronic assistance. And there have to be DJs who could profit from footswitches and MIDI control. The issue I see is, how do you reach the imaginative, frustrated subsets of all these groups, who may be hungry for the right looping device and not even know it? Another issue is whether a single box could meet the needs of all or most potential users, at a price that wouldn't eliminate many of them. If I were a DJ, I'd certainly want hands-free capability on my phrase sampler, as well as the ability to mutate a sample rather than merely repeating it...but the folks marketing phrase samplers don't seem to see it that way. And, of course, I'm not a DJ. But I doubt that any new looper would succeed if marketed only to guitarists. John mailto:johnpollock@delphi.com Troubador Tech on the Web--http://people.delphi.com/johnpollock ------------------------------ Date: Thu, 9 Jan 1997 01:11:19 -0700 (MST) From: Dan Howarth To: loopers-delight@annihilist.com Subject: square wave help Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII hi folks, in my digitech studio quad is an lfo which runs, among others, a square wave pattern. i understand that the square wave is -more or less- a fuzz/overdrive/distortion type sound. i can assign the lfo to modulate any parameter in the effects section, but i'm very unclear as to how to generate a fuzz tone. the square wave can be set to run at anything between .06hz and 16hz... any ideas? **************************************************************** ** Dan Howarth, History/Music, University of Arizona, Tucson ** ** http://www.u.arizona.edu/~howarth (under construction) ** **************************************************************** ------------------------------ Date: Thu, 09 Jan 1997 01:02:36 -0800 From: erik simpson To: Loopers-Delight@annihilist.com Subject: Re: another survey question Message-Id: <1.5.4.32.19970109090236.00673d68@on-ramp.ior.com> Content-Type: text/plain; charset="us-ascii" At 07:47 PM 1/7/97 -0700, you wrote: >hi folks, > >i've a brief but interesting question for my project... > >what are the various lists which you subscribe to? if you'll send me the >name of it, the listserv/majordomo etc. address, and a description of the >stuff contained... i'll compile them in my project. >please send replies to me. thanks. Digital Guitar Digest-like it sounds >pvallado@waynesworld.ucsd.edu Elephant Talk-King Crimson and Robert Fripp >et@cs.man.ac.uk Sylvian Digest-David Sylvian and related >sylvian@arastar.com Nerve Net-Brian Eno >nervenet@noc.pue.udlap.mx Avalon-Bryan Ferry and Roxy Music >avalon@ecto.org Door X-David Torn >door-x@umich.edu Smelly Tongues-the Residents >kimba@UH.EDU John Cale-like it says >johncale@sfo.com Richard Thompson digest-ditto >r-thompson@njitgw.njit.edu Seance-the Church This sounds like alot a grouped together, but most are fairly low volume and thus manageable. Loopers Delight is the busiest group I am on. But if any of these above artists were to suddenly put out a new album that could change suddenly. Bye; erik reid simpson eriks@on-ramp.ior.com --------------------------------