------------------------------ Loopers-Delight-d Digest Volume 97 : Issue 74 Today's Topics: Loop Composition (was Re: Ravel as a [ Kim Flint ] Re: Loop Composition (was Re: Ravel [ mgsam@wave.net ] VG8 [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ] Bob's amazing Lex Enhancement [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ] Re: VG8 [ Dpcoffin@aol.com ] Re: VG8 [ zenchi@juno.com (Robert L Williams) ] Re: VG8 [ zenchi@juno.com (Robert L Williams) ] Re: VG8 [ Paolo Valladolid ] Minneapolis info... [ Kevin Simonson ] Amps & Apartments (was Re: VG8) [ "Fra. Doubt-Goat" ] Re: feedback differences [ inti@webtv.net (Carlos Carrillo) ] Re: Minneapolis info... [ KelRey@aol.com ] Re: Oberheim Navigator [ KelRey@aol.com ] anyone using the alesis Q2 for loopi [ BobbyZZZ@aol.com ] Re: feedback differences [ Kim Flint ] Loopy in Cambridge, MA -- Fri 30th M [ David Kirkdorffer To: Loopers-Delight@annihilist.com Subject: Loop Composition (was Re: Ravel as a looper) Message-Id: Content-Type: text/plain; charset="us-ascii" Hayden wrote: >I agree about the importance of this thread eventhough I am a tech culprit >myself with the VG-8 thread... I'm sorry this thread got snuffed out by our server troubles, anyway.... What I find interesting musically, is the idea of exploring some particular musical genre, extracting some important/unique/fundamental concepts, and reapplying them in another genre where they are not so expected. Western Classical may not very loop oriented, yet it is certainly ripe with well developed compostitional techniques. So the question, a personal one really, is how do these ideas apply in our own music? Where do they lead us that we might not have gone on our own? >Ramblings 1: >It seems that the modernist movement, which is entrenched in the academic >setting, which is where classical music resides in the US, feels rather >strongly against being obvious in your compositional process. Consequently >direct repetition is almost always frowned upon by Modernist music theory >and composition professors. All of my composition and theory professors >have always stressed the theme and developement concept of music >composition (basically a Beethoven mindset). This means that you never >state the same thing twice but always changing melodically, rhythmically, >harmonically etc. There are other ways of composing but this is the so >called "classical way". Constant change can be obvious in it's own way. In this case, might a way of not being obvious be to do exactly what is not expected, and repeat yourself? Perhaps this is an opportunity to apply techniques we develop in looping back into the "classical way." >Ramblings 2: > >A passacaglia or a ground could also be a type of composition possible with >looping. Create a melody that loops, then create a different context for >the melody each time it comes around. Or create a chord or harmonic >progression that loops and create melodies and counter lines as the >progression loops. Now here is an interesting idea. Often people use loops to supply the context for other musical ideas occuring on top. What if we reverse that, as you suggest? The loop is in the forefront, while the context is performed and steadily altered. We can even improvise context in this way, to change the mood created by our looping melody/rhythm as we feel it ourselves..... >Ostinatos are another repetitive technique used by classical composers >although people in the real world call 'em grooves. James Brown taught me the basics of ostinato.....Bootsy, Mr. Clinton, and Prince filled in all the details.....:-) >Ramblings 3: >For me, trying to perform live looped music on electric guitar is a bit >different than composing a "classical" piece for an ensemble of acoustical >instruments. Since we are very reliant on technology to help us create our >works we have to make compositional or improvisational descisions that work >within the functions of the technology.(a form of algorithmic >composition??) Orchestra is also reliant on technology. A violin is a remarkable technical accomplishment, a piano even more so. It's just that the engineering occurred long enough ago that we don't see it as such. All composers/improvisers make decisions based on the limits of their available technology, unless they compose entirely for voice. And even that is a sort of technology.... Don't limit yourself or lessen your musical approaches in this way! > >In my opinion, classical compositional techniques are rooted in the >germanic concept of theme and development and they would be really >difficult (but not impossible) to pull off in a live looped context. >Trying to change something melodically or rhythmically that has already >been recorded in a delay unit or phrase sampler is almost impossible. Oh really? Perhaps it is merely a question of learning to use our tools in a deeper way? Most of the more sophisticated loop devices offer ways to alter and develop loops. Understand the possibilities of the tools and develop the musical techniques to take advantage of them! > You >could use the tape loop techniques(reverse, speed change,signal processing) >but that is about it. Not much room for theme and development in the >"classical way". Again, seek the possibilities before defining the limits. There are many opportunites for theme and development in looping. >I think that the 60's minimalist process is more in tune >with live looping than the "classical" theme and development way. (I guess >that is why live looping more or less comes from that music) For some this is true, but it is also a sort of limitation. If we extract ideas from distant genres and reapply them in our own familiar territory, they become fresh and innovative. All different musics have their own fundamental concepts defining their uniqueness. Don't fall into the trap as seeing looping as a continued development of the old minimalist scene. Many people come to looping without ever having heard of Phillip Glass or Steve Reich or even Robert Fripp. (Like me, actually) Lot's of paths lead here. It could be Chet Atkins or Trent Reznor or Les Paul or the Orb or Gamelan or Run-DMC or an interesting way to develop the repetitive speed metal rhythms of the 80's into the industrial music of the 90's or who knows what. They have all discovered and developed techniques for looping and repetition that may fit brilliantly in a new context. Explore outside of your familiar world, bring new things home..... >I would like to hear how other loopers create a sense of form, growth and >change in their music by using repetition. > >-Do you plan your music in advance or is it always spontaineous? I prefer improvisation. I like to have lots of control and a deep understanding of my instruments, so I can make them do exactly what I want at the moment I think of it. It is really just an extension of where I was 10 years ago as a guitarist, where I just wanted to be able to play so well that anything I thought of could be done with no preparation. I sure hope I reach that goal some day! > >-What do you consider to be the your most effective compositional >technique(s) when creating live looped music that relies on technology to >produce the loops? >(how about gear independant comments on this one) - Feedback control, to allow old things to disappear while new things emerge. - development of a melody/theme/rhythm by adding pieces over multiple repetitions of the loop, so that the full idea takes a while to come completely out. - removing elements from a theme on each pass of the loop, to break the idea down. - Having several similar, yet slightly different loops available to switch between and develop independently. - Corruptive changes to the loop, where on each pass something is done to damage and mar what was there before, in a somewhat unpredictable way. My favorite is to use replace functions where I replace a very small bit of the loop with something different (or nothing, silence is good). The result is strange rhythmic and melodic ideas that I would not have thought of and certainaly can't play. - Extending and reducing loop times in uneven ways, to change the rhythm and phrasing of the loop. - Looping longer or shorter amounts of another looping element, so that they play against each other in an interesting way. (a great way to make a drum machine sound very creative) - looping raw sounds and putting the processing afterwards, so that processing can be altered in real time. - loops of a loop, with a mix or crossfade knob to move between the two. The second loop gets altered while the first remains the same. - and of course, Reverse is Fun. 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: Sun, 25 May 1997 16:32:56 -0700 From: mgsam@wave.net To: Loopers-Delight@annihilist.com Subject: Re: Loop Composition (was Re: Ravel as a looper) Message-Id: Content-Type: text/plain; charset="us-ascii" Great post Kim... One thing...when are we going to realize that the hardware IS the software...that's why you have to be so careful about adding new hardware. You can't separate the technology from the music. There's a classical Harp player in town who wants to play with us and bring her angelic thing to looping...talking to her it turns out that she has pedals that can only "sharp up." She can't flat a string down. Fascinating, eh? Best, The LoOpDoctOrs ------------------------------ Date: Mon, 26 May 1997 10:40:38 +0100 From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: VG8 Message-Id: <28750.199705260940@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" Slightly off-subject, but... Can any of you VG8ers tell me if it's possible to simulate guitar-amp feedback using the VG8? I notice there's a feedback FX built-in, but how effective is it? Is this why so many VG8ers run them from Sustainer-equipped guitars? The chances of me getting a VG8 are virtually (!) zero, but I've had to sell my amp since moving to a modern (read: lousy-sound-insulated) flat (the Gibson L-9 was too loud at the best of times....), and I'm going crazy just playing my electric acoustically. This way, at least I can dream.... 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: Mon, 26 May 1997 10:49:37 +0100 From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Bob's amazing Lex Enhancement Message-Id: <28833.199705260949@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" Just my tuppence worth: Bob, you mentioned that you were considering using a PC program to run the JM enhancement. Will it be possible to run it without a PC, purely by MIDI? I don't have a PC and wouldn't really want to gig with one. Of course, this is jus one voice in the marketplace, so feel free to ignore it. I was just wondering; since most of the best JM features are already only accessible to MIDI, there's no real change in design philosophy. (Of yourse, if I could run it from a 386 I would probably end up buying one...) Michael PS to kim and co: Re Kim's bad mood about the ingratitude of EDP enhancement waitees - I'm _sure_ none of the design team ever so much as hinted that it was you that was writing the v2 software. You always talked about it in 3rd-person terms, ie "Oberheim are developing..." rather than "Matthias and I are developing....". If you will keep secrets from us... :) 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: Mon, 26 May 1997 07:12:05 -0400 (EDT) From: Dpcoffin@aol.com To: Loopers-Delight@annihilist.com Subject: Re: VG8 Message-ID: <970526071203_520473126@emout14.mail.aol.com> In a message dated 5/26/97 10:42:39 AM, Michael wrote: <> You may be relieved to hear that a Feedbacker is NOT on the feature list of the V; but the much less expensive GT-5 and GP-100 both include one (I don't the even cheaper GX-700 does), along with excellent preamp, amp and speaker models for use with regular pickups. It's a trick, of course, and won't satisfy like the real thing, but may be musically useful once you figure it out. I'm in a mostly-headphones environment myself, and would get one of the new COSM-equipped Rolands or Bosses in a heartbeat, if I didn't already have a VG (and a Mesa Boogie preamp/Ampulator/multifx rack, both of which, with the recent addition of a Lovetone Brown Source overdrive pedal, provides a superior, if feedback-challenged, headphone/recording experience). David ------------------------------ Date: Mon, 26 May 1997 14:24:10 EDT From: zenchi@juno.com (Robert L Williams) To: Loopers-Delight@annihilist.com Subject: Re: VG8 Message-ID: <19970526.122201.7222.1.zenchi@juno.com> On Mon, 26 May 1997 10:40:38 +0100 pycraft@elec.gla.ac.uk (Dr M. P. Hughes) writes: >Can any of you VG8ers tell me if it's possible to simulate guitar-amp >feedback using the VG8? I notice there's a feedback FX built-in, but >how effective is it? Is this why so many VG8ers run them from >Sustainer-equipped guitars? > Nope. The SDF pedal, SE-70 and I think the new COSM pre-amps have simulated feedback FX. The problem with them is they're mono (no chords) and have built in LFO's (your vibrato is meaningless). I have no experience with Sustainer or Sustainiac equipped guitars, but my guess is that players are using them for more than just amp type feedback. I played my first live show with the VG-8 last week, and got good feedback results using the monitor. Robert Williams DERISION ------------------------------ Date: Mon, 26 May 1997 15:30:18 EDT From: zenchi@juno.com (Robert L Williams) To: Loopers-Delight@annihilist.com Subject: Re: VG8 Message-ID: <19970526.132740.3974.1.zenchi@juno.com> On Mon, 26 May 1997 10:40:38 +0100 pycraft@elec.gla.ac.uk (Dr M. P. Hughes) writes: >Can any of you VG8ers tell me if it's possible to simulate guitar-amp >feedback using the VG8? I notice there's a feedback FX built-in, but >how effective is it? Is this why so many VG8ers run them from >Sustainer-equipped guitars? The SDF pedal, the SE-70 and one of the COSM pre-amps have a feedback effect, but not the VG-8. The problem I have with this effect is that it's mono (no chords) and there's a built in LFO (simulated preset vibrato). I don't have a Sustainer or Sustainiac in my guitar, but my guess is the players who do use them for more than amp feedback (I would). I played my first show with the VG-8 last week, and got feedback from my monitor that was controllable and beautiful. Robert Williams DERISION ------------------------------ Date: Mon, 26 May 1997 16:52:36 -0700 (PDT) From: Paolo Valladolid To: Loopers-Delight@annihilist.com Subject: Re: VG8 Message-Id: <199705262352.QAA01924@waynesworld.ucsd.edu> Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit > effective is it? Is this why so many VG8ers run them from > Sustainer-equipped guitars? It might be to get even more horn-like or violin-like sustain. The Sustainer makers (sorry, forgot the company name) include in their product a momentary button where the driver only works as long as you hold down the button; as well as another button that switches on the driver until you turn it off. I just got the promotional material in the mail but I left it at home. 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, 26 May 1997 22:14:20 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Subject: Re: feedback differences Message-Id: Content-Type: text/plain; charset="us-ascii" This sort of caught my attention a while back, and I only just got around to asking about it: At 11:42 PM -0700 5/7/97, Carlos Carrillo wrote: >I hope to be able to apply some of these ideas of constant evolution to >my looped compositions. I have some of the tools mentioned in this >mailing list (Jam-man, >Echoplex DP, Vortex, Boomerang) and even though I have discovered that >each has its own endearing qualities. I find myself preferring the way >looping is implemented in the Vortex and Boomerang. I like the way >volume (Vortex) and dynamic replacement (added material gradually lowers >the volume of previous material in the Boomerang) affect the way a loop >varies over time. > >Lowering the feedback control or using a pedal to alter feedback does >not have the same effect. I hope to see something like >this implemented in the Rom of the higher-end units as a user option for >the future. > >Carlos R. Carrillo I guess I don't understand why you can't get that same effect with both the jamman and the echoplex. With the echoplex, turning the feedback down while overdubbing does exactly what you are describing. As far as I know, the jamman does that too (although with less resolution on the feedback control). The old stuff dies away while the new stuff comes into the loop. That's almost the whole point of having feedback control! Is there something you want to do that I'm missing? There are lots of ways to approach feedback control, maybe I could show you a technique that will do what you want? You might not need anything special added to the rom, it might be there already! let me know if I can help, 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: Tue, 27 May 1997 10:05:17 -0600 (CDT) From: Kevin Simonson To: Loopers-Delight@annihilist.com Subject: Minneapolis info... Message-Id: <199705271505.AA074055517@eagle.uis.edu> Content-Type: text Content-Length: 515 Hello Loopers... I will be in the Minneapolis/St.Paul vicinity, smack in the center of downtown Mpls for work. Any suggestions regarding cool equipment and/or music stores OR places to see interesting performances would be greatly appreciated. Thanks! -- Kevin Simonson * AS/400 Application Development Team University of Illinois-Springfield * Programmer / Analyst Computer Science, et al. * Norwest Mortgage, Inc. simonson@eagle.uis.edu * Springfield, IL ------------------------------ Date: Mon, 26 May 1997 22:55:45 -0700 From: "Fra. Doubt-Goat" To: Loopers-Delight@annihilist.com Subject: Amps & Apartments (was Re: VG8) Message-Id: <3.0.1.32.19970526225545.006a0448@mail.spiritone.com> Content-Type: text/plain; charset="us-ascii" At 10:40 AM 5/26/97 +0100, you wrote: (snip) >The chances of me getting a VG8 are virtually (!) zero, but I've had to >sell my amp since moving to a modern (read: lousy-sound-insulated) flat >(the Gibson L-9 was too loud at the best of times....), and I'm going crazy >just playing my electric acoustically. This way, at least I can dream.... > >Michael Apt living sucks. But, if you must play through headphones, get a good amp simulator (I use the SansAmp PSA-1). Another option is to mike the amp in an acoustically isolated space (suspended in a closet stuffed with sound absorbing foam.) DON'T SELL YOUR GEAR, ONLY UPGRADE!!!! Fra. DOubt-Goat ------------------------------ Date: Tue, 27 May 1997 12:13:06 -0700 From: mgsam@wave.net To: Loopers-Delight@annihilist.com Subject: Oberheim Navigator Message-Id: Content-Type: text/plain; charset="us-ascii" Hi Kim and company: Anybody out there familiar with the Oberhiem Navigator. It's a midi control device and we're thinking about it as a way of controlling midi and feedback intsructions on both the Echoplex and Jammen...you can hook it up to a footpedal we are told. Any insights would be appreciated. Best, LoOpDoctOrs ------------------------------ Date: Tue, 27 May 1997 12:47:46 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Subject: Re: Oberheim Navigator Message-Id: <2.2.32.19970527194746.00a5a68c@pop.chromatic.com> Content-Type: text/plain; charset="us-ascii" never heard of that one, sorry! Is it something old? Are you sure it's Oberheim? kim At 12:13 PM 5/27/97 -0700, you wrote: >Hi Kim and company: > >Anybody out there familiar with the Oberhiem Navigator. It's a midi >control device and we're thinking about it as a way of controlling midi and >feedback intsructions on both the Echoplex and Jammen...you can hook it up >to a footpedal we are told. > >Any insights would be appreciated. > >Best, >LoOpDoctOrs > > > > > ________________________________________________________ Kim Flint 408-752-9284 Mpact System Engineering kflint@chromatic.com Chromatic Research http://www.chromatic.com ------------------------------ Date: Tue, 27 May 1997 18:56:24 -0700 From: inti@webtv.net (Carlos Carrillo) To: Loopers-Delight@annihilist.com Subject: Re: feedback differences Message-Id: <199705280156.SAA11823@mailtod-2.alma.webtv.net> Content-Type: TEXT/PLAIN; CHARSET=US-ASCII Content-Transfer-Encoding: 7BIT I like the way dynamics affect feedback in the Vortex. When I play loudly the older material is completely replaced, but if I play softly it is simply layered on top of the older material. This is very convenient and intuitive since it allows me to make much more spontaneous compositional decisions without having to fiddle with an expresion pedal. I usually play standing up, and as you can imagine, am not able to use more than one foot-pedal at a time. (Sometimes I wish I could grow a couple of extra feet just for this purpose ;) Having control over feedback with a pedal is fabulous, but being able to control it through your playing (dynamics) is equally delicious. Simplicity. Carlos R. Carrillo ------------------------------ Date: Tue, 27 May 1997 22:02:19 -0400 (EDT) From: KelRey@aol.com To: Loopers-Delight@annihilist.com Subject: Re: Minneapolis info... Message-ID: <970527220200_485957172@emout11.mail.aol.com> Hope you enjoy your MPLS trip Torps music in ST. Paul is great. there Is also American Pro Audio, High end stuff alway nice to see and get. There is a Guitar Center here and Rodger Dodger Music Store. Each place has its own spin. Lots of great equipment to try. Kelly ------------------------------ Date: Tue, 27 May 1997 22:09:29 -0400 (EDT) From: KelRey@aol.com To: Loopers-Delight@annihilist.com Subject: Re: Oberheim Navigator Message-ID: <970527220719_1822541881@emout06.mail.aol.com> I have heard and seen the Oberheim Navigator, It was quite sometime ago but I believe it was a midi controller in a square box much like the Oberheim strummer, I havent seen either for a long time. Kelly ------------------------------ Date: Wed, 28 May 1997 00:58:49 -0400 (EDT) From: BobbyZZZ@aol.com To: Loopers-Delight@annihilist.com Subject: anyone using the alesis Q2 for looping? Message-ID: <970528005849_316667317@emout06.mail.aol.com> please email me if you are, i'd like to ask some questions, thanks!!! bobby d/lvx nova ------------------------------ Date: Tue, 27 May 1997 22:05:08 -0700 From: Kim Flint To: Loopers-Delight@annihilist.com Subject: Re: feedback differences Message-Id: Content-Type: text/plain; charset="us-ascii" > I like the way dynamics affect feedback in the Vortex. When I >play loudly the older material is completely replaced, but if I play >softly it is simply layered on top of the older material. This is very >convenient and intuitive since it allows me to make much more >spontaneous compositional decisions without having to fiddle with an >expresion pedal. Ah yes, I see. I guess before I thought you were talking about the boomerang's feedback control, when you were actually talking about the vortex. Seems like a pretty interesting effect, feedback modulated by input level. In general, that sort of parameter modulation is something that is little explored in effects boxes. Having some aspect of the effected output controlled by some aspect of the input really opens up a lot of possibilities. It would make flat effects much more musically interesting, in my opinion. Using level like the vortex is only one way, and a pretty simple one. At g-wiz, we were working on the idea of timbral modulation, where some aspect of the way a note sounded was used as a control input. An example might be a sax player overblowing a note a little bit and using the resulting degree to which the note's harmonic content changes to add more flanging or something. Or to use the difference in sound between plucking a nylon string guitar with the fleshy part of your thumb and plucking it with your nail to control the high frequency damping in a reverb patch. This sort of control turns out to be quite natural, because musicians already use all of these techniques to control the way "normal" notes sound on their instrument. It's an area of expressive possibilities that hasn't made it to your garden variety effects device. Mostly because it's really, really hard to do! > I usually play standing up, and as you can imagine, am not able to use >more than one foot-pedal at a time. (Sometimes I wish I could grow a >couple of extra feet just for this purpose ;) don't we all! I guess one advantage of looping is you can record something first, and then twiddle knobs as the loop repeats! Every year at NAMM there is at least one company with some variation on attaching light sensors to something so that other motions can be used for parameter control. Maybe you could try that? My favorite remains the headstock wah-wah, where the wah sound opens and closes as you move the guitar neck up and down. Perfect for the 70's era stadium-rocker moves! For some reason these companies are never there the next year....ideas whose time has not quite arrived perhaps.... Don Buchla is the champ for optically controlled instruments. His Lightning is pretty amazing. I hear he's working with E-mu now on some sort of optically sensed drum pad, which will probably make the korg wavedrum look like a toy..... > >Having control over feedback with a pedal is fabulous, but being able to >control it through your playing (dynamics) is equally delicious. >Simplicity. Unless you want to add loud notes with the feedback up..... 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: Wed, 28 May 1997 14:54:04 -0400 From: David Kirkdorffer To: "'Loopers-Delight@annihilist.com'" Subject: Loopy in Cambridge, MA -- Fri 30th May -- James Coleman & UNDO Message-ID: Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit ..........Hello -- and please excuse this electronic disturbance of your e-mail systems........ Tone-Drone Productions wants you to know about a loopy, and possibly, intoxicating event -- featuring two of Boston's looping few: 1) James Coleman -- aka in the Boston as "That Theremin Guy" and 2) UNDO -- a kind of unthing. Details follow... ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Film & Music at Carberry's 74 Prospect St. Central Square, Cambridge, MA 617- 576-3530 Date -- Friday 30st May (rain date Saturday 31st) 8:00 pm Film -- The Day the Earth Stood Still Klaatu barada nikto! A mysterious and dignified alien arrives bearing an antinuclear message for the inhabitants of Earth, and learns that his peaceful views are not shared by all. If you've never seen this four-star landmark science fiction classic with its moody Bernard Herrmann score before, it is an absolute must-see. Music -- Following the movie -- Ambient Soundscapes from two of Boston's ambient-est: 1) James Coleman -- demonstrating elements of the soundscore on theremin 2) UNDO -- doing its undoingmost. Rumour has it James and UNDO will do a duet, or would that be doing an UNDO-et?? Bring your awareness however you will. David Kirkdorffer ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ......and now back to your regularly scheduled programming --------------------------------