------------------------------ Loopers-Delight-d Digest Volume 97 : Issue 84 Today's Topics: Re: Non-Guitar Looping [ Dpcoffin@aol.com ] Re: Non-Guitar Looping [ Sean Echevarria ] RE: Non-Guitar Looping [ "Ott, John" ] One cheap looper... [ landman@wco.com (Mark Landman) ] RE: questions for one and all [ Mark@asisoftware.com (Mark Kata) ] Sustainer Update [ pycraft@elec.gla.ac.uk (Dr M. P. Hu ] RE: Klein Electric Guitar [ Kim Corbet ] fs:plex foot pedal [ rick canton ] 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: Sun, 8 Jun 1997 00:25:18 -0400 (EDT) From: Dpcoffin@aol.com To: Loopers-Delight@annihilist.com Subject: Re: Non-Guitar Looping Message-ID: <970608002516_1108795778@emout15.mail.aol.com> In a message dated 6/7/97 9:08:44 PM, James wrote: <> I've just seen the DTorn video and got my first glimpse at the mixer revelation...anyone know if that mixer he uses is still around, or have any suggestions for ideal mixers for looping and maximum fx-routing flexibility? I've been looking at the Mackie 1604 (all mono) and 3204(?)--with its stereo sends, but no pfl, which seems pretty essential. Love to hear any recommendations/advice/thought/etc....Thanks! dpc ------------------------------ Date: Sat, 07 Jun 1997 21:59:51 -0700 From: Sean Echevarria To: Loopers-Delight@annihilist.com Subject: Re: Non-Guitar Looping Message-Id: <3.0.1.32.19970607215951.007b2100@pure.pureatria.com> Content-Type: text/plain; charset="us-ascii" I saw a passac unity8 used at music store in SF bay area for about $125. I asked David if he's still using it and here's his reply: >tho' i've still got that passac, i've been using a mackie 1604 since 'round >the time of those vids: sounds real good, it's got faders on channels (which >give me clear visual feedback as to what's what), & i modified it to have 4 >pre-fader sends. >but: i'm still not satisfied! it's too big, has too much that is unnecessary >to me (8 mic-pres, too many chnls, eq, solo switches). >anyway: >the passac *is* a good, clean mixer, & best of all: it's small! >regards, >dt > In the last Door-X list, he mentioned that he's pitching a mixer idea to Alesis or Mackie. At 12:25 am 6/8/97 -0400, you wrote: > >I've just seen the DTorn video and got my first glimpse at the mixer >revelation...anyone know if that mixer he uses is still around, or have any ------------------------------ Date: Sat, 7 Jun 1997 22:02:28 -0700 From: mgsam@wave.net To: Loopers-Delight@annihilist.com Subject: Re: Zoom 508 delay vs. Steinway pianos vs. Klein guitars Message-Id: Content-Type: text/plain; charset="us-ascii" Kim: Thanks for your thoughtful and open minded response to our ergnomonic rant. Here's one idea we've kicked around...the shape of these loopers...the rack mount notion seems to dictate a box with an umbilical connection to a footpedal. Or the looper becomes a footpedal period -- like the Boomerang or Zoom. A saxaphone, a guitar, a piano evolved their shapes to the requisite needs of fingers, hands, mouth...the bodily points that would by extension create the music, and which are highly adaptable and trainable to musical inflection. But as we said, all the loopers we know out there seem to be toe/foot operated. The LoOpDoctOrs drive their cars with feet/toes...we walk with them too, and we can do the proverbial tapping of the foot, but we are not monkeys...we tend to do out best work from the groin upwards...this is where we have the most dexterity, agility, thrust...and we have been trained to make music with these upper body parts, although when we get something good going we shake our asses too. The foot, on the other hand, tends to be an on/off, go/no-go, or go faster appendage. So in adapting your musical instrument to the dictates of the toe are you in turn imposing something on the musical capabilities of the instrument? In other words, the rack dictates the box, the box constricts knobs and bigger more open menus, and it makes for a fairly edgy, linear, seen-this-a-million-times-before shape. Not so inviting or beautiful as a Strat, a Klein or a Steinway or as irrisistably touchable as a Sax. The box by definition makes a looper look and feel like a million other boxes. Interestingly, the paint job on the Oberheim is one of our favorite things about it because it is so invitingly individualistic...but the rest of the structure leaves us pretty much cold. Think about it...a Looper in the shape of a Mobius strip maybe? ;) Or how about a looper that was soft and pushy like an accordian. How could you the sensory/tactile interface invite us into the musical capabilities? Could you play a looper with your nose? Could you design one to work with facial grimaces? How about the elbow? Elbows usually seem to be available to most musicians. How about a looper your inserted between the shoulder and guitar strap, kinda like a b-string bender concept on a telecaster? One of our favorite and not immediately noticable things about the Klein guitar is the way the body is bent like a mildly melted chocolate bar...or a deep sea ray. The Klein just wants to stick to your hip bone. Are we out there or what? ;) Best, The LoOpDoctOrs ------------------------------ Date: Sun, 8 Jun 1997 12:30:24 +0100 From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Re: Sustain(Warning!) Message-Id: <29095.199706081130@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" >Isn't there a chance that driving p/us from an amplifier is going to >burn it out? >I remember buying pickups which came with a warning about even >testing the resistance.(Do not apply more than 1V). I've just tried driving 10V into a neck p/u, which doesn't seemed to have harmed it - hasn't started any strings oscilating though! The unit measures at about 8Kohm, meaning about 1mA is flowing through the coils. Not enough, it seems... I might give Kent Armstrong a call next week about low-impedance pickups... 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: Sun, 8 Jun 1997 12:34:35 +0100 From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Re: symetrix delay Message-Id: <29142.199706081134@rank-serv.elec.gla.ac.uk> Content-Type: text/plain; charset="us-ascii" >Anybody checked out the Symetrix "606 Delay f/x Machine"? Any reactions? I saw the ad in the Holdsworth issue of EQ. >Looks like a great delay unit; true stereo, 20bit A/D, filters, modulation, >tap tempo, midi sync, and knobs..... It looks like a Vortex someone got right... :) Notice how you have 6 modulators, which can drive any parameter including each other? Any idea how much these go for in the shops? I know the RRP is $600.... 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: Sun, 8 Jun 1997 10:06:20 -0400 (EDT) From: Dpcoffin@aol.com To: Loopers-Delight@annihilist.com Subject: Re: DTorn's Passac mixer Message-ID: <970608100620_189210229@emout19.mail.aol.com> <> Thanks! The 1604 seemed to be the other best choice; agree completely about the drawbacks. Anybody else got solutions they like? dpc ------------------------------ Date: Sun, 08 Jun 1997 20:38:08 -0700 From: Sean Echevarria To: Loopers-Delight@annihilist.com Subject: Re: DTorn's Passac mixer Message-Id: <3.0.1.32.19970608203808.0082dd30@pure.pureatria.com> Content-Type: text/plain; charset="us-ascii" I ended up getting a used Roland M-240R for $350. 4 rack space, 24 channel, 2 bus, 4 sends. The fourth send is switchable pre or post. The first 3 are post-fader on the main bus and pre-fader on the secondary bus. At 10:06 am 6/8/97 -0400, you wrote: >Thanks! The 1604 seemed to be the other best choice; agree completely about >the drawbacks. Anybody else got solutions they like? >dpc ------------------------------ Date: Mon, 9 Jun 1997 07:24:34 -0300 From: matthias@bahianet.com.br (Matthias Grob) To: Loopers-Delight@annihilist.com Subject: RE: Klein Electric Guitar Message-Id: Content-Type: text/plain; charset="us-ascii" Tom Attix said: >What about the feedback of the (body) vibration from the acoustic >chamber to the string? Obviously, you can't increase overall string >vibration (amplitude) by coupling it to an acoustic chamber but could >the chamber act as a "storage device" for resonant freq's thereby >sustaining certain harmonics (longer than they would have been >originally) and effectively dampening nonresonant harmonics? If you plug >this into an amp, it will feedback much easier (energy is never free but >maybe you can get it a little cheaper...). Certainly the acoustic chamber works reverse: if it makes the instrument sound louder acoustically, it also transferes sound easyer from outside onto the string and thus feedback happens easyer. If I understood right, you think that even unpluged, some harmonics could be sustained more than without chamber. This would mean that the energy of the frequencies that are dampened is transfered to the sustained ones. I never thought of this, but it seems to make sense... I think I heard a similar effect from gongs, or was it just my impression that the high frequencies increase (absolutely, not just relatively to the low ones) after the initial rather bassy attack? Anyone can confirm that? (I have no gong :-( ) Still, to achieve this certainly takes a master lutier! Kim Corbet wrote: >......well, it seems to me "acoustics" differs from this point of view. >the string vibrates...the chambers resonate. It's the amplification >properties of the chambers themselves that create the sustain. Take an >acoustic guitar without the huge box and you haven't got much. Play any >hollowbody guitar vs. solid body...play through any good quality speaker >cabinet and then through a speaker sitting on the workbench and you start >to appreciate what "chambers" can do. I felt that the solid body guitars have the most sustain (unless they are not built well or intentionally dampened and the string energy transforms into heat). The chamber only increases sustain at the resonant frequency. It does not really amplify, it transforms acoustic impedance: The strong movement of the little surface of the string is transformed into a little movement of a big area. The Banjo transforms all string energy soon it to a loud and consequently short sound. The speaker cabinet prevents from a acoustical short cirquit between the area in front of and behind the membrane. Sustain what you least want for a speaker, or it will loose all definition. Matthias ------------------------------ Date: Mon, 9 Jun 1997 10:27:40 -0400 From: Michael Peters To: "'INTERNET:Loopers-Delight@annihilist.com'" Subject: ready for new profiles Message-ID: <199706091027_MC2-1819-B40@compuserve.com> Content-Type: text/plain Content-Disposition: inline hi everyone, I'm back from vacation, and ready to HTMLize new entries for the Personal Profiles webpage (and for the Loopology webpage). If you want to add your Personal Profile to the page, put together what seems important to you (if you want, in a tabular form just like most existing entries) and send it to me. ___________ Michael Peters http://ourworld.compuserve.com/homepages/mpeters HOP - Fractals in Motion ..."the only screen saver you'll ever want" http://ourworld.compuserve.com/homepages/mpeters/hop.htm Support the Warr Guitar Defense Fund http://home.earthlink.net/~greendog/warrfund.html ------------------------------ Date: Mon, 9 Jun 1997 11:31:38 -0400 From: "Ott, John" To: "'Loopers-Delight@annihilist.com'" Subject: RE: Damage Message-ID: >>>---------- >From: james rhodes >Reply To: Loopers-Delight@annihilist.com >Sent: Sunday, June 8, 1997 3:02 AM >To: John_Ott@ATK.COM >Subject: Re: Damage > > >>isn't this also available on laserdisc or something? how about VHS? why >>laserdisc? > >yes and it is very excellent...the picture and sound on Laserdisc is as good >as it gets. >and yes its on VHS and most likely PAL as well,,,Possible Productions has it. > >check it out >james << Possible Production Video Page: >http://www.rockslide.com/possible/merch2.htm > It is only on LD and they don't have many left. It is a different show from Damage but the arrangements are the same. Some stuff I thought was Fripp was Gunn some stuff I thought was Fripp was Brook. Some stuff I thought was Brook was Sylvian. At some point you have 4 guys playing in the Guitar range. Gunn stays mostly on the bass range of the Chapman Stick as that's where there is space to play. There is a cool back and forth exchange of treated guitar between Brook and Fripp on "Road to Graceland" There is several tracks on the LD that are not on Damage. One is Fripp's "Exposure". later John > ------------------------------ Date: Mon, 9 Jun 1997 14:17:23 -0400 From: "Ott, John" To: "'Loopers-Delight@annihilist.com'" Subject: RE: Non-Guitar Looping Message-ID: >>>>From: James Reynolds >Reply To: Loopers-Delight@annihilist.com >Sent: Saturday, June 7, 1997 5:17 PM >To: John_Ott@ATK.COM >Subject: Re: Non-Guitar Looping > >Someone asked about non-guitar loopers on this list... > >I began looping mainly with bass noises (harmonics, misc. un-basslike >tweakage) through effects (distortion, wah, volume, vortex) into a plex and >jamcompadre. > >But I keep adding to my arsenal of source-material widgets. All are fed >through the same signal chain as the bass, so they can also be >disconcertingly effected. I'll be getting an 8-channel submixer soon so >switching between toys will be easier. > >So far I'm using a theremin (spooky 50s sci-fi sounds), analog synth >(Roland Juno 6: Knobs! Reatime!), random AM radio (looped Mariachi sounds >can be hauntingly beautiful), samples grabbed from obscure vinyl (gotta >love 50 cent records like "Rapture: Hawaiian Moods"), and CD/tape/vinyl in >realtime (slide up the fader at random times and loop it..) > >james > <<< I use my jamman on the effects loop of a Mackie 1202VLZ , so anything into the mixer is fair game for looping. I find my Korg Synth much better at making layered sound than my guitars. The attack of the pick is not something that layers well. I can program the synth to have a slow attack much easier than using a volume pedal or other effects to get rid of pick attack. I have used combinations of guitar, synth and vocals in loops. Jon, now that you are in love with your Klien. How much for the PRS? later >John ------------------------------ Date: Mon, 9 Jun 1997 11:34:00 -0700 From: landman@wco.com (Mark Landman) To: Loopers-Delight@annihilist.com Subject: One cheap looper... Message-Id: Content-Type: text/plain; charset="us-ascii" Attention Loopers- Found this on Harmony Central, thought someone might be interested- ---------------------------------------------------------------------------- ---------- 8 second sampling delay Asking Price: US$75 Condition: Good Age: N/A Description: Digitech pds 8000 sampling delay footpedal. 8 seconds delay time, a little scratched but works fine. Excels at getting those fluid, Eno/David Torn type looping delays. can also be used as a studio effect(aux send)with input and output level controls. Price is 75 dollars plus shipping from Atlanta. Seller: Kevin Morrison, E-mail: ultrevex@atl.mindspring.com Location: ATLANTA, GA Post Date: 6/9/97 ---------------------------------------------------------------------------- ---------- Don't call me- Best- Mark ------------------------------ Date: Mon, 9 Jun 1997 12:08:24 -0400 From: Mark@asisoftware.com (Mark Kata) To: "'Loopers-Delight@annihilist.com'" Subject: RE: questions for one and all Message-ID: <01BC74CD.D55582C0@mark.asisoftware.com> Content-Type: text/plain; charset="us-ascii" The Torn videos are fantastic. In fact, of all the guitar videos that I've seen, these two are most inspiring for me (along with Henry Kaiser's video and Adrian Belew's "Electronic Guitar"). Although Torn talks in great detail about his equipment, he stresses seeking your individuality in playing, equipment, etc. Tape 1 covers his guitars, stomp boxes and amps. Tape 2 covers his rack and MIDI continuous controllers. Along the way, he plays some nifty loops. These tapes are worth every penny. Highly recommended. Mark Kata Mark@asisoftware.com ---------- From: MiqSk8@aol.com[SMTP:MiqSk8@aol.com] Sent: Thursday, June 05, 1997 2:15 PM To: Loopers-Delight@annihilist.com Subject: questions for one and all has anyone here on the list seen the david torn instructional videos? i'm still pretty new at looping but have a fairly firm grasp on signal processing; would these be of worth ($69+) to me? what do they cover, and are they more theory based or just the "look what cool sound i get out of this cool box" type thing? on to more real loopy stuff... has anyone here ever seen the Joni Mitchell concert video Shadows and Light? Her band at the time was michael brecker, don elias, lyle mays, pat metheny, and the monster known as jaco pastorious. jaco's solo takes advantage of the lexicon(judging by the blue on the box) delay to build a quick loop to blow over. it's really cool, grooving(of course), and jaco just has the technology dialed in. warning:this solo does not appear on the cd! sorry to bring up the zoom 508 again, but... if you were to pony up for the expression pedal to go with it, what parameters are controlable by it? feedback, delay level, delay time? is it's output true stereo? could delays be panable? i have for a while been considering two parallel signal chains fed by a panning pedal allowing me to mix (or ultimately choose one of) two considerably different sounds on the fly-kind of the poor man's morphing, only not so processor dependent/intensive. btw, has any heard the zoom 507 reverb pedal as well? and now for the big kahuna- what is it that all of us are trying to achieve by looping? i'm really interested in the sounds coming out of this group. Atmospheres? Textures? "Sound Carpets"? Precision Pointillism? Industrial Indigestion? or more of the compositional types of multiple loops created on the fly and then swapped between? in other words a way to build traditional sections of composition to be arranged. i realize this predates the looper's cd, but i think it would be cool for us to get an idea of what's going on with all this equipment and talent and ... personally i'm still struggling with all the abilities of the 'plex and the timing of using next loop-so i'm concentrating more on the single loop. it's amazing how varied the result can be by taking different approaches (chordal, linear, heavy, ethereal, synchronized, chaos). i am constantly just letting it go onto tape. (i'm spending all weekend in the california mountains to go through them all!) ------------------------------ Date: Mon, 9 Jun 1997 17:22:51 +0100 From: pycraft@elec.gla.ac.uk (Dr M. P. Hughes) To: Loopers-Delight@annihilist.com Subject: Sustainer Update Message-Id: <24249.199706091622@rank-serv.elec.gla.ac.uk> Content-Type: text/plain I've just been talking with Kent Armstrong, who recons a low-Z pickup could be built for about £50 ($70-ish). How could I refuse? Problem is, this needs to be done right, so I'm asking everybody for suggestions on this... any idea what's required? I'm just going for a lot of bigger-gauge turns - we'll have no idea of the impedance 'till it's built - but does anybody have any ideas of the impedance of the Fernandez neck pickup? Or the current flowing into it, at least? (You guys with Fer. guitars could measure this by checking the draw from the batteries) I'm guessing (literally!!!) that I'll need a Z of about 100ohm, producing a current of about 100mA - a total draw of about 1 Watt. Is that OK or a bit too extreme? Is 10ma sufficient (I'm guessing it probably isn't)? Opinions, _please_!! 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, 9 Jun 1997 11:24:05 -0500 (CDT) From: Kim Corbet To: Loopers-Delight@annihilist.com cc: Loopers-Delight@annihilist.com Subject: RE: Klein Electric Guitar Message-ID: Content-Type: TEXT/PLAIN; charset=US-ASCII > The Banjo transforms all string energy soon it to a loud and consequently > short sound. .............I'm forgetting what we're talking about here...sustain, amplitude, extra mayo? Mentioning the word loud in relation to the banjo makes me think we should be making less hay outta the strings and more outta the tightened head that vibrates furiously with each pluck. I don't mean to interfere with anyone's string fetish. Actually, it's always nice to look at old assumptions toward some interesting brain switch. yada yada...kim ------------------------------ Date: Mon, 9 Jun 97 16:07:03 -0000 From: "T.W. Hartnett" To: "Looper's Delight" Subject: Improving looper interfaces Message-Id: <199706092106.OAA08166@scv1.apple.com> Content-Type: text/plain; charset="US-ASCII" >Loopers are in their infancy when compared to the development of the grand >piano or a guitar, or many other fine instruments. We should not be >satisfied that the ergonomics of looping instruments have been well solved >or worked out. We do have a long way to go! > >That may be an important role for our little group in the looping universe. >How should this instrument work ergonomically? How can we make it better? >You have the ears of the most progressive designers in the field present on >this list, tell us what you think! > >And as technology allows us more possibilites, the interface design becomes >even more challenging. Many ideas for what the next generation of loopers >should do have been proposed here. How will the musician control these >features? What will make them intuitive and easy to use expressively, like >guitars and pianos and saxophones? This reminds me of the "alternate synth controller" thread that pops up in the keyboard world every now and then. It usually starts with someone bemoaning the fact that the Most Powerful Sound Generating Device Known To Man is triggered by roughly the same interface that Mozart used on a harpsichord. "Surely there have been advances in controller/interface technology in the last few centuries!", says the frustrated synthesist, "Why just the other night I was thinking that if I could control the vibrato of each individual voice by moving my toes along a vertical axis, I would FINALLY BE ABLE TO GET SOME MUSIC MADE! Naturally, this addition alone would not be nearly enough to allow me to express my considerable talent, I also wish to be able to control the filter sweep my moving my toes along the horizontal axis. Nay, even this would not be enough to convey the worlds of sound that are trapped within my head--I want to be able to dynamically assign the horizontal and vertical movement of each of my ten toes (if only I had more!) to a different paramenter, for each patch, as needed. I DEMAND that all the International MIDI Committee immediately adopt and standardize this Ten-Toe Controller (10TC) as a required addition to all future keyboards and effects processors. P.S. I wish to pay no more than $24.99 for this controller." Given that there's a bit of hyperbole involved in the above example, but it took forever for aftertouch to become fairly common. And there was one keyboard which would would read wiggling the keys from side to side, so that you could apply vibrato with a guitaristic motion. As far as making looping device interfaces more ergonomic, I'd rather that money be spent on fixing the feature set, rather then devising some sort of cuddly accordian-style interface. Every dollar spent on, say, a large-LCD display on the front of the unit or physical dials to control parameters is a dollar less spent on developing the software/hardware. In addition, I think that looping rigs tend to be more esoteric than the average musician, who only sends audio in one direction. I remember a long-lived thread on MIDI foot-controller implementation for the Big Two, and there didn't seem to be a consensus on what people wanted out of it. If Lexicon or Oberheim has to try and second guess all the unusual, one-of-a-kind rigs that the next generation of loopers are going to be installed into (whoops--scratch Lex, they already decided that looping was too much work for not enough payback), we'll never see anything. I don't want to sound like I'm advocating a position of "everything's great--we should all be so grateful for the crumbs we've been thrown". I think that any improvements on the interface front are going to come from specific solutions to specific problems, not from saying "I wish everything were more flexible and easier to use!". Think of something like the Parson's-White B-bender or the Floyd Rose tailpiece, they were solutions to clearly identified problems ("How can I play this three-handed lick with two hands?" and "How can I yank on my vibrato bar all night without going out of tune?"). Granted, they don't represent a change in the guitar interface, but as we move out of the realm of physical tone generators and into the more hypothetical realm of digital audio manipulation, the ground is uncharted. Travis Hartnett ------------------------------ Date: 9 Jun 1997 15:40:37 -0700 From: "Hartnett, Travis" To: "Loopers Delight postings" Subject: FS: Vortex $175 Message-ID: >From Harmony Central: Lexicon Vortex Asking Price: US$175 Condition: Mint Age: 1 year Description: You know the one...now disontinued just when everyone's figuring out how cool these things are. Morph baby...MORPH! Seller: Roland Eberle, E-mail: roland@ccnet.com Location: HAYWARD, CA Post Date: 6/8/97 ------------------------------ Date: Mon, 09 Jun 1997 16:35:14 -0700 From: Jim Coker To: Loopers-Delight@annihilist.com Subject: Re: Sustainer Update Message-ID: <339C9332.44A@interaccess.com> Content-Type: text/plain I'm peeking inside my Ebow, and one pickup definitely has thicker wire than the other, but I really can't say how thick it is (thicker, yes, but still a very thin wire). If you're really serious, you might consider dissecting an ebow for testing wire sizes/ current and such. also: The pickup centers on the Ebow are 1 11/64 inch apart. Good luck! jim Dr M. P. Hughes wrote: > > I've just been talking with Kent Armstrong, who recons a low-Z pickup could > be built for about £50 ($70-ish). How could I refuse? > > Problem is, this needs to be done right, so I'm asking everybody for > suggestions on this... any idea what's required? I'm just going for a lot > of bigger-gauge turns - we'll have no idea of the impedance 'till it's > built - but does anybody have any ideas of the impedance of the Fernandez > neck pickup? Or the current flowing into it, at least? (You guys with Fer. > guitars could measure this by checking the draw from the batteries) > > I'm guessing (literally!!!) that I'll need a Z of about 100ohm, producing a > current of about 100mA - a total draw of about 1 Watt. Is that OK or a > bit too extreme? Is 10ma sufficient (I'm guessing it probably isn't)? > Opinions, _please_!! > > 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, 09 Jun 1997 16:10:55 -0700 From: rick canton To: Loopers-Delight@annihilist.com Subject: fs:plex foot pedal Message-ID: <339C8D7F.420C@cyberportal.net> Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit i dont use mine , name a good price & i`ll ship it c.o.d. anyone... e-mail me, rick i also have an lxp-5 & mrc v.4.0..... --------------------------------