Re: Dig if u will my research paper Chapter 3

[Geoff Smith <geoff.smith15@btopenworld.com>]

Title: Re: Dig if u will my research paper Chapter 3

Its an interesting puzzle that seems to get more complicated...
especially when I spoke to Morton Subotnick who said this about the use of tape delay it were being used by the late 50's..some in San
Frnacisco by the tape center..[Ramon, Pauline and myself}...Vladimir
Ussachevsky was using all sorts of time lag....Mauricio Kagel had a work for
percussion where the material the musicians played was recorded and brought
back later in the composition..etc..


Unfortunately Morton was too busy to say anything further to me, maybe you might be able to extract something out of him Richard?
Certainly from speaking to people it seems like Terry Riley is so care free about his work that he hasn't documented what happened and when accurately because I don't think it matters to him. The overall impression I got though was that Riley was the pioneer he is just to care free to make a big fuss about it. Where as Pauline Oliveros likes the ideas of self promotion more......
These aren't supposed to be judgements on these people just reflections of what people have said to me.
Riley didn't even have copyright on In C till the 1980s!!!!!!!!
I think that speaks volumes!
Geoff


on 28/5/03 1:52 am, Richard Zvonar at zvonar@zvonar.com wrote:

> At 7:30 PM -0500 5/27/03, Doug Cox wrote:
>
> > So, then... if Mike Battle starting making prototype 'Plexes in the late 50's, was he aware of, or involved in, the activities of Riley, Oliveros, Reich, et. al. at that time?
>
> I asked him if he'd heard of Terry Riley, but he said not.
>
> >  Was it really, as it seems, that an Echoplex made it into Riley's hands... he explained it to someone... who implemented the idea in a different way (large tape decks)... which Riley tagged the "time lag accumulator"... which Riley continued to use and others used later as live looping devices... sorta like that?
>
> I talked to Terry on the phone at some length and he never mentioned the Echoplex. He was working with two monophonic Wollensack tape decks circa 1959-60. He made "Mescalin Mix" in 1960 by using one of the decks as a source, with a very long loop os source material (across the room, out the window into the yard, around a wine bottle and back in the window) and used the sound-on sound function of the second deck to layer sounds. He played the resulting piece for the French radio engineer, who then came up with the idea for the two-deck system that became the Time Lag Accumulator. When Terry returned from France he implemented the system on two Revox decks.
>
> There is a little confusion about dates in all this, since Ramon and Pauline claim there were some long-delay dual-machine performances circa 1960-61. My suspicion is that this may be true, but that adding the feedback component to the circuit may have come later. Time to talk to them all again?