From Loopers-Delight-request@loopers-delight.com Thu Oct 2 09:49:29 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 0B573183581; Thu, 2 Oct 2014 09:49:28 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:from:date:message-id:subject:to :content-type; bh=RIa8qsfpxV7sfJA96EgOeEOsM99/0XKYMvgrlBIBj2Y=; b=ANDDVyXDzi3FBLkuSRClo+ZEYZJwqxfP07W65DRVy42XARytBhgQWYbBxYeZeix6SK MmqcuyG0b04V+ag+iUyN7Ywh3Er2J7SIoAag5fDWN7sAacXtLGYPwSRP0gMwEdYsAXup 6+W+6A4yl279DfI6S7IFseLE2Epvh4NO8WWfi5AR110gDitw52z1IIzAnwV87wdMhCAl FZTsGqnjmTKl/7rEGImKz3W77n8Vqpbyhp05j9/vY/8uHRPo4lle5iVMUyVWhYxyLrZz zoFl5ZuBh/+ij08VrNCJd2ctK1zD8uaaajE7viV7SuISzKfxeyRHnaG2nbs23MxUrHaR N+zw== X-Received: by 10.42.180.5 with SMTP id bs5mr3578858icb.70.1412243180967; Thu, 02 Oct 2014 02:46:20 -0700 (PDT) MIME-Version: 1.0 In-Reply-To: <8521087A-3789-48C4-B8D3-741F66987BED@gmail.com> References: <8521087A-3789-48C4-B8D3-741F66987BED@gmail.com> From: Jean-Paul De Roover Date: Thu, 2 Oct 2014 04:46:00 -0500 Message-ID: Subject: Re: Korg KP3 tech issue To: loopers-delight Content-Type: multipart/alternative; boundary=90e6ba6e866a2361a505046d7df1 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123572 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 2 Oct 2014 09:49:28 +0000 (UTC) --90e6ba6e866a2361a505046d7df1 Content-Type: text/plain; charset=ISO-8859-1 Hey Bob, Thanks for looking into that for me. I tried recalibrating, and a hard reset and neither worked. Then, magically, 3 days later it powered up like it was no big deal with everything working perfectly. Silly technology... On Fri, Sep 26, 2014 at 11:20 AM, RP Collier wrote: > > On Sep 26, 2014, at 8:00 AM, Jean-Paul De Roover wrote: > > The X-Y touchpad doesn't seem to be responding properly. > > > > > Maybe? > > > http://www.sweetwater.com/sweetcare/articles/re-init-procedure-kaoss-pad-reinitialization-hard-reset/ > > > BobC > > http://soundcloud.com/rpcollier > -- Jean-Paul De Roover www.jeanpaulderoover.com (807) 251-3376 Check out the new video for "One By One" http://youtu.be/ii7xGJXP3Y8 --90e6ba6e866a2361a505046d7df1 Content-Type: text/html; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable
Hey Bob,=A0

Thanks for looking into tha= t for me. I tried recalibrating, and a hard reset and neither worked. Then,= magically, 3 days later it powered up like it was no big deal with everyth= ing working perfectly. Silly technology...

On Fri, Sep 26, 2014 at 11:20 AM, RP C= ollier <skeptikalist@gmail.com> wrote:

=
On Sep 26, 2014, at 8:00 AM, Jean-Paul De Roover wrote:

=
= The X-Y touchpad doesn't seem to be responding properly.=A0



Ma= ybe?





--
Jean-Paul De Roover
www.jeanpaulderoover.com
(807) 251-3376

Check out the new video for "One By One"
--90e6ba6e866a2361a505046d7df1-- From Loopers-Delight-request@loopers-delight.com Thu Oct 2 17:50:05 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 24ACA183579; Thu, 2 Oct 2014 17:50:05 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <542D8F8A.6090900@soundscapes.us> Date: Thu, 02 Oct 2014 13:46:50 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Galactic Travels Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: <8Jxaz.A.YeF.NBZLUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123573 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 2 Oct 2014 17:50:05 +0000 (UTC) GALACTIC TRAVELS ON WDIY http://galactictravels.info Please SHARE so that more people can listen to and support the artists. Tonight at 11 pm EDT/GMT-4 on Galactic Travels, I'll begin a month-long Special Focus on Craig Padilla. The Featured CD at Midnight will be "Vostok" on Spotted Peccary Records. The Special Focus page is at http://soundscapes.us/gt/playlists/2014/focus.html#oct Galactic Travels is an electronic, ambient, and space music show that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville and Trexlertown, and on the internet at http://wdiy.org. Become a WDIY member now! http://ow.ly/pJhCf From Loopers-Delight-request@loopers-delight.com Thu Oct 2 21:14:01 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id B6EB9183579; Thu, 2 Oct 2014 21:14:01 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <4ecdc1794f14e0d07ad75b99dbc6bf6c.squirrel@www.noahpeterson.com.hostbaby.com> Date: Thu, 2 Oct 2014 16:10:50 -0500 Subject: Support the LoopFests! From: "Noah Peterson" To: "Loopers-Delight" Reply-To: noah@noahpeterson.com User-Agent: SquirrelMail/1.4.21 [SVN] MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit X-Priority: 3 (Normal) Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123574 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 2 Oct 2014 21:14:01 +0000 (UTC) Hey all, It's October and that means I'll be sending out some emails for the loopfests. I'll try and keep it to a minimum. First one of the season is a the call for support! http://kck.st/1vvCKZ0 This is the kickstarter program to support the traveling loopers. We've got people from France, Sweden, Japan, Italy, Slovakia, Canada, Costa Rica, Mexico and from outlying part of the U.S. I'm asking for two things: Please give if you can and please post the link on your social media. While my festivals do pay, they are currently unable to cover the huge expenses of flights, housing, etc... Please help defray some of the expenses for the artists who are paying their own way to come and perform at these events. Thank you! Noah Peterson Entertainment, Llc 999 East Basse Road #180-117 San Antonio, TX 78209 503-703-9516 -- www.noahpeterson.com www.petersonentertainment.com From Loopers-Delight-request@loopers-delight.com Fri Oct 3 12:51:00 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 43A65183581; Fri, 3 Oct 2014 12:51:00 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <542E9AEF.1070907@soundscapes.us> Date: Fri, 03 Oct 2014 08:47:43 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Galactic Travels Playlist #913 for October 2, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123575 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 3 Oct 2014 12:51:00 +0000 (UTC) http://soundscapes.us/gt/playlists/2014/141002.html Galactic Travels is an electronic, ambient, and space music show, that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville and Trexlertown, and webcasting on the internet. Show #913 October 2, 2014. RECAP: On this show, I began a month-long focus on Craig Padilla. The Featured CD at Midnight was "Vostok" on Spotted Peccary Records. I played music by Jeff Pearce who will play at The Gatherings Concert Series on Saturday, October 11. http://soundscapes.us/gt/playlists/2014/focus.html#oct PLAYLIST: 11:04 pm ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Kevin Braheny Starflight 1 * Galaxies (Hearts of Space) Jeff Pearce No Matter How Far With Evening Above (Jeff Pearce Music) Symmetry Metaphysicist Intro Music on WVKR-FM (none) (Space One Way) Chvad SB A Hair Before Crickets Were the Compass Sundown (Silber) Maneki Neko Between Heaven and Muichi Motsu (Stray Pointer) Earth Modulator ESP The Sacred Doctrine The Sacred Doctrine of the of the Invisiblen Invisible Prong Prong * 12:00 am ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Craig Padilla Vostok Vostok (Spotted Peccary) Craig Padilla Distant Signals Tracks Across the Universe Volume One (none) 1:00 am * = excerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist -- = Background music under interview NEXT SHOW: On the next Galactic Travels, I'll continue the month-long focus on Craig Padilla. The Featured CD at Midnight will be "Below the Mountain" on Spotted Peccary Records. WDIY Announcement: http://wdiy.org/post/next-galactic-travels-2014-10-09 Bill ========================================================================= Host of Galactic Travels, an electronic, ambient, and space music show, Thursdays at 11:04 pm on WDIY 88.1 FM in Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in Trexlertown and Fogelsville. Galactic Travels web site: http://galactictravels.info Listen to WDIY at http://wdiy.org/programs/galactic-travels on-line. Playlists are also published at http://billfox.blogspot.com ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Sat Oct 4 08:51:40 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 6D105183577; Sat, 4 Oct 2014 08:51:40 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <542FB459.1060203@soundscapes.us> Date: Sat, 04 Oct 2014 04:48:25 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Thought Radio Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123576 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 4 Oct 2014 08:51:40 +0000 (UTC) THOUGHT RADIO http://soundscapes.us/thoughtradio Please SHARE so that more people can listen to and support the artists. Thought Radio, the Saturday edition of The AM/FM Show, is on at 6 am EDT/GMT-4. In Phase One, I will continue the special on Sequences Electronic Music Magazine's sampler CDs. I will also play music by Jeff Pearce who will be at The Gatherings on October 11. In Phase 3, the Artist of the Month is Pallas. The show features electronic, ambient, and spacemusic at the beginning, an eclectic mix of genres in the middle, and winds up with Progressive Rock. Tune in at 91.7 FM or on the internet at http://muhlenberg.edu/wmuh/stream.html From Loopers-Delight-request@loopers-delight.com Sat Oct 4 17:15:15 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 08F8418357A; Sat, 4 Oct 2014 17:15:14 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <54302A5E.7010205@soundscapes.us> Date: Sat, 04 Oct 2014 13:11:58 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Thought Radio Playlist for October 4, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123577 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 4 Oct 2014 17:15:14 +0000 (UTC) http://soundscapes.us/thoughtradio/playlists/2014/141004.html Thought Radio is the Saturday edition of The AM/FM Show hosted by Bill Fox. You can expect to hear electronic, ambient, spacemusic, Progressive Rock, and an eclectic mix of other genres. The show airs from 6:00 am to 8:00 am EDT/GMT-4 on WMUH Allentown, 91.7 FM and streaming on the internet. Bill also hosts Afterglow every Thursday from 8:00 am to 9:30 am.http://soundscapes.us/afterglow/index.html Show #294 October 4, 2014. Recap: In Phase 1, I continued the special on Sequences electronic music magazine. I also played music by Jeff Pearce who will play at the Gatherings Concert Series on October 11. In Phase 3, the Artist of the Month is Pallas. I played music from "Official Bootleg" and "The Wedge." Phase I/Space: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Modulator ESP The Sacred Doctrine The Sacred Doctrine of the of the Invisible Invisible Prong (none) Prong VA [Team Metlay] Unbroken Sequences No. 28 Mark Jenkins Ohrwurm Analog Archives (AMP) Craig Padilla Full Moon World Strange Fish 1 (Fruits de Mer) Jeff Pearce Cloud Water Rising Daylight Slowly (Hypnos) Phase II/Eclectic: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Peter Jennison Waiting Coming Home (none) Peter Jennison The Journey To You Coming Home (none) Trevor Gordon Hall The Blue Hour Mind Heart Fingers (none) David Buckingham The View The View (Tamesis) 2002 Follow Your Star Trail of Dreams (Galactic Playground) Phase III/Progressive Rock: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Pallas Crown of Thorns Official Bootleg 27.01.06 Pallas Sanctuary The Wedge (InsideOut) Flying Colors Cosmic Symphony Second Nature (Mascot) Renaissance Symphony of Light * Symphony of Light (Red River) Alan Morse Cold Fusion * Four O'clock and Hysteria (InsideOut) * = excerpt ++ = Advanced CDR from artist VA = Various Artists (compilation) On the next show, I will continue the special on the sampler CDRs that came with each issue of Sequences electronic music magazine. The Artist of the Month is Pallas. Bill Fox ======================================================================== Host of Thought Radio, the Saturday edition of The AM/FM Show every other Saturday at 6:00 am. Phase 1: Electronic, ambient, and space music. Phase 2: Mixed bag of acoustic, electric, pop, or New Age. Phase 3: Progressive rock from past masters to contemporary releases. Website: http://soundscapes.us/thoughtradio MySpace: http://myspace.com/thoughtradio Facebook Page: http://facebook.com/thoughtradio Facebook Group: http://facebook.com/groups/thoughtradio Listen to WMUH Allentown locally at 91.7 FM or on-line at http://www.muhlenberg.edu/wmuh/stream.html Playlists are also published at http://billfox.blogspot.com RSS (2.0) feed from http://billfox.blogspot.com/rss.xml Atom (0.3) feed from http://billfox.blogspot.com/atom.xml ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Thu Oct 9 17:01:20 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 50320183585; Thu, 9 Oct 2014 17:01:20 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=yahoo.com; s=s2048; t=1412873883; bh=FsX6honVDnS82/5IH3v57rnqtrnMwaFqDRCYVj7zCOw=; h=Date:From:Reply-To:To:Subject:From:Subject; b=JvQqVwxz7XKAclvyUpX76tYCXnD6m+iKwoVBN3q0p1rlKzv+wMru4JdU8q7v4H0FSwiKh+vIncDielcHjPAOfA2euvvR9jtNvWVDOXUgv3mT6PR3aT+YdHR5nYWkIpuRqdOLzRK9fipT7AyqJWcKtgGsrp2gypG1zzQDs+7HmBN5eoysyaf4SpsHgyBfDWquSHlD0CqJTu2yUe44jv2AtfEcndtPkbcJ8KV8IYD7Lu6UstcTULja/Q4e2VV6cswq6zpqmrnYLEOvmgeI05KVGn5FG4Vckvx89CvIyjvbRFYFFOmvF2LDID90Xwg58hJbJC4OV9H8SYukxRS4YbqMhw== DomainKey-Signature: a=rsa-sha1; q=dns; c=nofws; s=s2048; d=yahoo.com; b=kRXCQiwRQ6aRIo9UQCp0UJPhcyAMTrKZgPvhXWqudEX13F7ruxHxq4r60cyAzKzz6UcglMdGxB0kOQcGmW3TIlG8JW28f+LsFKGTG8hG9X3JOo1TOpT1nPeP0z1fLqnUbYiREsaTQUtuiz852k1icTOXQDD2BIK3gfkguTXSlZ8/0prWaVowMYFNYOYjrxGdnIJ3Ub0Vk9ktPBrD8r+IG0/2o1y4Tf4zb6wQgV8HHTLMisJtRUXvObv+p9ldtjz3lr6XM1P7QJi9sxlsuPI03LkSApCxZ2mzQrDmBKQk/vT3OtQGM3hxbjFxwoo1bgeonabcBEaLNTau9YzQFO15GA==; X-Yahoo-Newman-Property: ymail-4 X-Yahoo-Newman-Id: 600032.60167.bm@omp1020.mail.gq1.yahoo.com X-YMail-OSG: cHOgYusVM1mpJMo2WZpNno.RB40zci6lqI4Pvk5t1DpeF2yLvNbw5Z1a3bibaNj j5GdyCWpi5WoGE5Cwksc6KovN84shk7DfuMgZDfcU5wEhotCuJxzNs4VkshYDaCj_GgFZcyhfMs9 L9k12vH9wEVf.PjPTFH6P2GML3Q_nSdWXpXgtwfsklnPopgxksW0Mxfqw3igyprqMRsl_3wTUgW6 Huk2xuji3rOh9YT098TSU5n_1HqIxG3bXMV0BOq._8fIR975_v3WaMFdJMev4j0B1xD5M5Yx1pT8 gn7a_zhsEMM2..B0TftJncuOrzmwdCr_MPM8wHIIUVSbl2.Ys0HB8AhCrXLKB.VERC3VBvCh6Yg3 o.xguLh7xPsuCcO0IpFSCJNAXExeAD1SrBwcnxtcitgGjE95vZR.qEvivhMtnjjT3KgtfKB3sUAc puu_.LvzewFabOi5mWwnZWhQXC.0hYEKJ2U6IA3BlULc6KrHQDLgRh.TEvlEwChpwoLQasa9supk _2.vEPZ7k Date: Thu, 9 Oct 2014 16:55:04 +0000 (UTC) From: Luis Angulo Reply-To: Luis Angulo To: "Loopers-Delight@loopers-delight.com" Message-ID: <306818993.72869.1412873704782.JavaMail.yahoo@jws10731.mail.gq1.yahoo.com> Subject: EDP Plus TGE-04 Footswitch MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_72868_1241362634.1412873704780" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123578 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 9 Oct 2014 17:01:20 +0000 (UTC) ------=_Part_72868_1241362634.1412873704780 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hi People,im hunting for a Black EDP Plus TGE-04 Footswitch=C2=A0 anybody knows where i can get one? does anybody have Andy Ewens email?than= x cheersLuis ------=_Part_72868_1241362634.1412873704780 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
Hi People,
im hunting for a= Black EDP Plus TGE-04 Footswitch 
anybody kn= ows where i can get one? does anybody have Andy Ewens email?
thanx
cheers
Luis
------=_Part_72868_1241362634.1412873704780-- From Loopers-Delight-request@loopers-delight.com Thu Oct 9 17:15:25 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D3EA3183586; Thu, 9 Oct 2014 17:15:25 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: Date: Thu, 9 Oct 2014 12:12:09 -0500 Subject: NW LoopFest tonght! From: "Noah Peterson" To: "Loopers-Delight" Reply-To: noah@noahpeterson.com User-Agent: SquirrelMail/1.4.21 [SVN] MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit X-Priority: 3 (Normal) Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123579 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 9 Oct 2014 17:15:25 +0000 (UTC) And so it begins....tune in and turn on. Tonight streamed for your home viewing pleasure: 6pm P.S.T. http://www.concertwindow.com/shows/8458-nw-loopfest-seattle Mark Hamburg - Woodinville, WA Daniel J. Davis - Seattle, WA Richie Dagger's Crime - Seattle, WA Cian - Guadalajara Jalisco, Mexico Jean-Paul De Roover - Thunder Bay Ontario, Canada Mandoman - Osaka, Japan Mister Tim -Longmont, CO Clifford Kimbrel-Dunn - Seattle, WA Show is at The Royal Room in Seattle, WA 5000 Rainier Ave. Peterson Entertainment, Llc 999 East Basse Road #180-117 San Antonio, TX 78209 503-703-9516 -- www.noahpeterson.com www.petersonentertainment.com From Loopers-Delight-request@loopers-delight.com Thu Oct 9 17:26:47 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 3FE4E183581; Thu, 9 Oct 2014 17:26:47 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <5436C48E.7020503@soundscapes.us> Date: Thu, 09 Oct 2014 13:23:26 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Galactic Travels Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123580 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 9 Oct 2014 17:26:47 +0000 (UTC) GALACTIC TRAVELS ON WDIY http://galactictravels.info Please SHARE so that more people can listen to and support the artists. Tonight at 11 pm EDT/GMT-4 on Galactic Travels, I'll begin a month-long Special Focus on Craig Padilla. The Featured CD at Midnight will be "Below the Mountain" on Spotted Peccary Records. The Special Focus page is at http://soundscapes.us/gt/playlists/2014/focus.html#oct Galactic Travels is an electronic, ambient, and space music show that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville and Trexlertown, and on the internet at http://wdiy.org. Become a WDIY member now! http://ow.ly/pJhCf From Loopers-Delight-request@loopers-delight.com Thu Oct 9 20:20:01 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 445A5183587; Thu, 9 Oct 2014 20:20:01 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <29770b6c842ffe730a04347d34a02ca3.squirrel@www.noahpeterson.com.hostbaby.com> Date: Thu, 9 Oct 2014 15:16:42 -0500 Subject: NW LoopFest tonight From: "Noah Peterson" To: "Loopers-Delight" Reply-To: noah@noahpeterson.com User-Agent: SquirrelMail/1.4.21 [SVN] MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit X-Priority: 3 (Normal) Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123581 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 9 Oct 2014 20:20:01 +0000 (UTC) And so it begins....tune in and turn on. Tonight streamed for your home viewing pleasure: 6pm P.S.T. http://www.concertwindow.com/shows/8458-nw-loopfest-seattle Mark Hamburg - Woodinville, WA Daniel J. Davis - Seattle, WA Richie Dagger's Crime - Seattle, WA Cian - Guadalajara Jalisco, Mexico Jean-Paul De Roover - Thunder Bay Ontario, Canada Mandoman - Osaka, Japan Mister Tim -Longmont, CO Clifford Kimbrel-Dunn - Seattle, WA Show is at The Royal Room in Seattle, WA 5000 Rainier Ave. Peterson Entertainment, Llc 999 East Basse Road #180-117 San Antonio, TX 78209 503-703-9516 -- www.noahpeterson.com www.petersonentertainment.com From Loopers-Delight-request@loopers-delight.com Thu Oct 9 20:51:24 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id DAA35183591; Thu, 9 Oct 2014 20:51:24 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:date:message-id:subject:from:to:content-type; bh=25ZlI7z16h4jbku4yNzxK6ZS9+PlJbRb7bQAchWz0Ho=; b=hR3IkR1w471DCSdLCYJfcCskVwkqddDoMSNT0OgUC5Yymkec8bCGzhOhawUysmPxl6 jd+4LStM2EsPu6woJeuFe9Y6q3x9dYdoZsoPfKmy8u768BcR1+Wghqa2gFeKgH4xh8oO 2ft/dp9eIxWZ5no5vGey9TH0AQpwNIFAG6oUxBiiUmpWv5bGtegoLlg5gc8AwNovaxF6 +KMc/r1gnslKq3HZei978K2aiooBcg+JNz5Bd37Tnhszip0hlswBl8/k2jsNcRl7Kp/B y3fgb+sDBjpf7vzbUBwbhhs3dM/TAVET9ajvAnUHWHKoAPJ3IQ31qMQCBJChj3FC4V6Q 8c3Q== MIME-Version: 1.0 X-Received: by 10.194.94.196 with SMTP id de4mr178291wjb.86.1412887687109; Thu, 09 Oct 2014 13:48:07 -0700 (PDT) Date: Thu, 9 Oct 2014 13:48:07 -0700 Message-ID: Subject: direct to overdub/stack on the boomerang III From: Rusty Perez To: "Loopers-Delight@loopers-delight.com" Content-Type: text/plain; charset=UTF-8 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123582 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 9 Oct 2014 20:51:24 +0000 (UTC) This may be old news for some, but there's a firmware update for the rang III. Version 3.4 has an option to go straight in to stack mode after recording. when activated, you long-press to start recording, and then when you tap to close the loop, you're in stack mode. It works GREAT! I have not gigged with it yet, but practicing here at home it's of course infinitely easier than the multi button presses required before. So, go out and upgrade yours today! Rusty From Loopers-Delight-request@loopers-delight.com Fri Oct 10 00:58:25 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A69E918358D; Fri, 10 Oct 2014 00:58:25 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [MiLQ3x9ZujZg7lHJoaW+qoluqM/mrmQq] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_000e5edb-e6b7-4705-9d86-237ac7d72421_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: direct to overdub/stack on the boomerang III Date: Fri, 10 Oct 2014 00:55:09 +0000 Importance: Normal In-Reply-To: References: MIME-Version: 1.0 X-OriginalArrivalTime: 10 Oct 2014 00:55:09.0556 (UTC) FILETIME=[D7166B40:01CFE424] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123583 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 10 Oct 2014 00:58:25 +0000 (UTC) --_000e5edb-e6b7-4705-9d86-237ac7d72421_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi Rusty Every time I think about this I read what is involved and get the jitters. = Can you please relate what software/os you used to get it done? Thanks ig > Date: Thu=2C 9 Oct 2014 13:48:07 -0700 > Subject: direct to overdub/stack on the boomerang III > From: rustys.lists@gmail.com > To: Loopers-Delight@loopers-delight.com >=20 > This may be old news for some=2C but there's a firmware update for the ra= ng III. >=20 > Version 3.4 has an option to go straight in to stack mode after recording= . > when activated=2C you long-press to start recording=2C and then when you > tap to close the loop=2C you're in stack mode. >=20 > It works GREAT! >=20 > I have not gigged with it yet=2C but practicing here at home it's of > course infinitely easier than the multi button presses required > before. > So=2C go out and upgrade yours today! >=20 > Rusty >=20 = --_000e5edb-e6b7-4705-9d86-237ac7d72421_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Hi Rusty

Ever= y time I think about this I read what is involved and get the jitters. Can = you please relate what software/os you used to get it done?

<= /div>
Thanks

ig

>=3B Date: Thu= =2C 9 Oct 2014 13:48:07 -0700
>=3B Subject: direct to overdub/stack on= the boomerang III
>=3B From: rustys.lists@gmail.com
>=3B To: Loo= pers-Delight@loopers-delight.com
>=3B
>=3B This may be old news = for some=2C but there's a firmware update for the rang III.
>=3B
&= gt=3B Version 3.4 has an option to go straight in to stack mode after recor= ding.
>=3B when activated=2C you long-press to start recording=2C and = then when you
>=3B tap to close the loop=2C you're in stack mode.
&= gt=3B
>=3B It works GREAT!
>=3B
>=3B I have not gigged wit= h it yet=2C but practicing here at home it's of
>=3B course infinitely= easier than the multi button presses required
>=3B before.
>=3B = So=2C go out and upgrade yours today!
>=3B
>=3B Rusty
>=3B =
= --_000e5edb-e6b7-4705-9d86-237ac7d72421_-- From Loopers-Delight-request@loopers-delight.com Fri Oct 10 05:22:09 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 62E3B183591; Fri, 10 Oct 2014 05:22:09 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 432 seconds by postgrey-1.34 at arsenic; Fri, 10 Oct 2014 05:22:09 UTC From: Mark Hamburg Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (1.0) Subject: Re: direct to overdub/stack on the boomerang III Message-Id: <78EF8903-5656-408C-B2B1-62811B0E091E@grubmah.com> Date: Thu, 9 Oct 2014 22:11:34 -0700 References: In-Reply-To: To: "Loopers-Delight@loopers-delight.com" X-Mailer: iPad Mail (12A405) Resent-Message-ID: <3pxfoB.A.XMH.B02NUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123584 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 10 Oct 2014 05:22:09 +0000 (UTC) I guess it's just as well I didn't read about this earlier today since it mi= ght have led to me swapping back to the Boomerang on my board ahead of the S= eattle Loopfest. But definitely something I need to install since my chief g= ripe with the Boomerang has been the lack of an easy way to go straight into= overdub. Mark > On Oct 9, 2014, at 1:48 PM, Rusty Perez wrote: >=20 > This may be old news for some, but there's a firmware update for the rang I= II. >=20 > Version 3.4 has an option to go straight in to stack mode after recording.= > when activated, you long-press to start recording, and then when you > tap to close the loop, you're in stack mode. >=20 > It works GREAT! >=20 > I have not gigged with it yet, but practicing here at home it's of > course infinitely easier than the multi button presses required > before. > So, go out and upgrade yours today! >=20 > Rusty >=20 >=20 From Loopers-Delight-request@loopers-delight.com Fri Oct 10 15:47:13 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A66B3183590; Fri, 10 Oct 2014 15:47:13 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <5437FEB8.6070204@soundscapes.us> Date: Fri, 10 Oct 2014 11:43:52 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Galactic Travels Playlist #914 for October 2, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123585 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 10 Oct 2014 15:47:13 +0000 (UTC) http://soundscapes.us/gt/playlists/2014/141002.html Galactic Travels is an electronic, ambient, and space music show, that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville and Trexlertown, and webcasting on the internet. Show #914 October 9, 2014. RECAP: On this show, I continued the month-long focus on Craig Padilla. The Featured CD at Midnight was "Below the Mountain" on Spotted Peccary Records. I played music by Jeff Pearce who will play at The Gatherings Concert Series on Saturday, October 11. http://soundscapes.us/gt/playlists/2014/focus.html#oct PLAYLIST: 11:04 pm ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Kevin Braheny Starflight 1 * Galaxies (Hearts of Space) Cosmic Ground Deadlock Cosmic Ground (Studio Fleisch) Jonn Serrie Quantum Seas Day Star (New World) Jeff Pearce Shadow of Surrender The Hidden Rift (Ancient Sun) Craig Padilla Currents Below the Mountain (Spotted Peccary) Craig Padilla Woven Planet Below the Mountain (Spotted Peccary) Craig Padilla Wandering Thought Below the Mountain (Spotted Peccary) 12:00 am ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Craig Padilla Endless Road Below the Mountain (Spotted Peccary) Craig Padilla Windspell Below the Mountain (Spotted Peccary) Craig Padilla First Light Below the Mountain (Spotted Peccary) Craig Padilla Alturas Below the Mountain (Spotted Peccary) Twyndyllyngs Stretched To Event Horizon (Fox's Den) Infinity Arttek The Watchers Live 8-3-14 0n Radio 25 (none) 1:00 am * = excerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist -- = Background music under interview NEXT SHOW: On the next Galactic Travels, I'll continue the month-long focus on Craig Padilla. The Featured CD at Midnight will be "The Heart of the Soul" on Spotted Peccary Records. WDIY Announcement: http://wdiy.org/post/next-galactic-travels-2014-10-16 Bill ========================================================================= Host of Galactic Travels, an electronic, ambient, and space music show, Thursdays at 11:04 pm on WDIY 88.1 FM in Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in Trexlertown and Fogelsville. Galactic Travels web site: http://galactictravels.info Listen to WDIY at http://wdiy.org/programs/galactic-travels on-line. Playlists are also published at http://billfox.blogspot.com ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Sat Oct 11 23:59:46 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id B00B318357A; Sat, 11 Oct 2014 23:59:46 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Virus-Scanned: Debian amavisd-new at hblnxmtascan3.hostbaby.com To: Loopers-Delight@loopers-delight.com From: "=?utf-8?B?bm9haEBub2FocGV0ZXJzb24uY29t?=" Subject: =?utf-8?B?TncgTG9vcGZlc3Qgd2Vic3RyZWFt?= Date: Sat, 11 Oct 2014 16:56:23 -0700 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_Part_0_1413071783901" Message-Id: <20141011235624.79F3C16000E1@hblnxmtascan03.hostbaby.com> Resent-Message-ID: <7jPBh.A.5NH.yRcOUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123586 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 11 Oct 2014 23:59:46 +0000 (UTC) ------=_Part_0_1413071783901 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: base64 Content-Disposition: inline SGV5IGFsbCwKClR1bmUgaW4gdG8gdGhlIG53IGxvb3BmZXN0IG9ubGluZS4gIFNob3cgc3RhcnRz IGluIGFib3V0IDIwIG1pbiBhbmQgZ29lcyBhbGwgbmlnaHQuCgpXd3cubndsb29wZmVzdC5jb20g Zm9yIHN0cmVhbWluZyBsaW5rLgoKQXJ0aXN0cyB0byBiZSBzdHJlYW1lZC4KClRlZCBLaWxsaWFu LCBEYW5pZWwgSi4gRGF2aXMsIFBlciBCb3lzZW4sIApEYXZpZCBLb2xsYXIgYW5kIFBhb2xvIFJh aW5pZXIsIFJpY2hpZSBEYWdnZXJzIENyaW1lLCBMdWNpZCBCcmFpbiBJbnRlZ3JhdGl2ZSBQcm9q ZWN0LCBOb2lzZSBBZ2VuY3kgYW5kIE5vYWggUGV0ZXJzb24uClNlbnQgZnJvbSBteSBIVEMgSW5z cGlyZeKEoiA0RyBvbiBBVCZUCgo= ------=_Part_0_1413071783901 Content-Type: text/html; 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boundary="----=_Part_0_1413076006008" Message-Id: <20141012010646.5E32016000E8@hblnxmtascan03.hostbaby.com> Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123587 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 12 Oct 2014 01:10:06 +0000 (UTC) ------=_Part_0_1413076006008 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: base64 Content-Disposition: inline RGlmZmljdXRsaWVzIHdpdGggY29uY2VydCB3aW5kb3cuICBNb3ZlZCBpdCB0byBzdHJlZXRqZWxs eS5jb20sIGxpbmsgb24gdGhlIGxvb3BlcnNkZWxpZ2h0IGZiIHBhZ2UuCgpTZW50IGZyb20gbXkg SFRDIEluc3BpcmXihKIgNEcgb24gQVQmVAoKLS0tLS0gUmVwbHkgbWVzc2FnZSAtLS0tLQpGcm9t OiAibm9haEBub2FocGV0ZXJzb24uY29tIiA8bm9haEBub2FocGV0ZXJzb24uY29tPgpUbzogPExv b3BlcnMtRGVsaWdodEBsb29wZXJzLWRlbGlnaHQuY29tPgpTdWJqZWN0OiBOdyBMb29wZmVzdCB3 ZWJzdHJlYW0KRGF0ZTogU2F0LCBPY3QgMTEsIDIwMTQgNDo1NiBwbQpIZXkgYWxsLAoKVHVuZSBp biB0byB0aGUgbncgbG9vcGZlc3Qgb25saW5lLiAgU2hvdyBzdGFydHMgaW4gYWJvdXQgMjAgbWlu IGFuZCBnb2VzIGFsbCBuaWdodC4KCld3dy5ud2xvb3BmZXN0LmNvbSBmb3Igc3RyZWFtaW5nIGxp bmsuCgpBcnRpc3RzIHRvIGJlIHN0cmVhbWVkLgoKVGVkIEtpbGxpYW4sIERhbmllbCBKLiBEYXZp cywgUGVyIEJveXNlbiwgCkRhdmlkIEtvbGxhciBhbmQgUGFvbG8gUmFpbmllciwgUmljaGllIERh Z2dlcnMgQ3JpbWUsIEx1Y2lkIEJyYWluIEludGVncmF0aXZlIFByb2plY3QsIE5vaXNlIEFnZW5j eSBhbmQgTm9haCBQZXRlcnNvbi4KU2VudCBmcm9tIG15IEhUQyBJbnNwaXJl4oSiIDRHIG9uIEFU JlQ= ------=_Part_0_1413076006008 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: base64 Content-Disposition: inline RGlmZmljdXRsaWVzIHdpdGggY29uY2VydCB3aW5kb3cuICZuYnNwO01vdmVkIGl0IHRvIHN0cmVl dGplbGx5LmNvbSwgbGluayBvbiB0aGUgbG9vcGVyc2RlbGlnaHQgZmIgcGFnZS48YnI+PGJyPlNl bnQgZnJvbSBteSBIVEMgSW5zcGlyZeKEoiA0RyBvbiBBVCZhbXA7VDxicj48YnI+PGRpdiBpZD0i aHRjX2hlYWRlciIgc3R5bGU9IiI+LS0tLS0gUmVwbHkgbWVzc2FnZSAtLS0tLTxicj5Gcm9tOiAm cXVvdDtub2FoQG5vYWhwZXRlcnNvbi5jb20mcXVvdDsgJmx0O25vYWhAbm9haHBldGVyc29uLmNv bSZndDs8YnI+VG86ICZsdDtMb29wZXJzLURlbGlnaHRAbG9vcGVycy1kZWxpZ2h0LmNvbSZndDs8 YnI+U3ViamVjdDogTncgTG9vcGZlc3Qgd2Vic3RyZWFtPGJyPkRhdGU6IFNhdCwgT2N0IDExLCAy MDE0IDQ6NTYgcG08YnI+PGJyPjwvZGl2Pjxicj5IZXkgYWxsLDxicj48YnI+VHVuZSBpbiB0byB0 aGUgbncgbG9vcGZlc3Qgb25saW5lLiAmbmJzcDtTaG93IHN0YXJ0cyBpbiBhYm91dCAyMCBtaW4g YW5kIGdvZXMgYWxsIG5pZ2h0Ljxicj48YnI+V3d3Lm53bG9vcGZlc3QuY29tIGZvciBzdHJlYW1p bmcgbGluay48YnI+PGJyPkFydGlzdHMgdG8gYmUgc3RyZWFtZWQuPGJyPjxicj5UZWQgS2lsbGlh biwgRGFuaWVsIEouIERhdmlzLCBQZXIgQm95c2VuLCA8YnI+RGF2aWQgS29sbGFyIGFuZCBQYW9s byBSYWluaWVyLCBSaWNoaWUgRGFnZ2VycyBDcmltZSwgTHVjaWQgQnJhaW4gSW50ZWdyYXRpdmUg UHJvamVjdCwgTm9pc2UgQWdlbmN5IGFuZCBOb2FoIFBldGVyc29uLjxicj5TZW50IGZyb20gbXkg SFRDIEluc3BpcmXihKIgNEcgb24gQVQmYW1wO1Q8YnI+PGJyPg== ------=_Part_0_1413076006008-- From Loopers-Delight-request@loopers-delight.com Sun Oct 12 21:54:28 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id B4A8B183588; Sun, 12 Oct 2014 21:54:28 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:date:message-id:subject:from:to:content-type; bh=Rh7AX4Hd6+PRuYdPxpJWz9wDEnmwrFqSz8EHQjwNQEk=; b=x62uZO+tmv6PCvIZasz0AVyg/we4yPeF3GyLTGKRlSZyAXd1HSHP3pFUZ2xLpKFgk9 QQ3P4pPZpM4HWIjwmEJCqlyq63S9IOwtU23tlEwU6IaRa/h6CbY0Lnp+QtGIAZrPouUt lQaj6L65T+SlmWcv3VMmVCVZ/y9J4FJ8ZfIqYyDLEspmKaPgqeT0tmjdeulvdAG8UiC5 gyndkBkERUU5K3o+97xaeAVGI0xP39ixyB5rYPwk/0pxv64aj3OZw5wnyiKCGYjCh9RB vp4lAP9gOoXW92ucGms4ZB5Ye+7/+VRJIREXSxF1hMbaYNN5zIVZA8UdPmAdVUw0zMxv 2tpA== MIME-Version: 1.0 X-Received: by 10.50.4.1 with SMTP id g1mr24978292igg.39.1413150669178; Sun, 12 Oct 2014 14:51:09 -0700 (PDT) Date: Sun, 12 Oct 2014 22:51:09 +0100 Message-ID: Subject: Using a looper for recording beats, glitching them, MIDI sync and MIDI bass...HOW? From: Akraf Emaho To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=001a11c3df84a68cf2050540c7ba Resent-Message-ID: <3XPSOD.A.L7.UivOUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123588 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 12 Oct 2014 21:54:28 +0000 (UTC) --001a11c3df84a68cf2050540c7ba Content-Type: text/plain; charset=UTF-8 Hey all, I've been thinking for a long time about how to accomplish the above and it looks like time to figure it out. The idea is a vox+guitar setup using a looper for beats (rather than chords or whole arrangements). The loops would be glitched up to provide fills/variation/dynamics using something like Effectrix or Stutter Edit since there doesn't seem to be a hardware option for this. This would then be expanded to include a cheap hardware synth like a Microbrute to perform bass duties - run off of a MIDI file in an ipad app or laptop. The thinking behind this is to have a raw, live feel (because prerecorded beats + drum machines sound like karaoke to me), with dynamism provided by the glitching and not being stuck with two-part looping a la Boss/Boomerang etc. I'm sure most of you are all too aware of the fine balances and compromises involved in trying to liveloop actual songs while keeping it "real" or at least "unreal" in an exciting way! So my questions are: 1) Is this both feasible and as cool as I think it will be? Will the marriage between MIDI clock, on the fly beats and a MIDI-driven analog monosynth produce sweet harmony or fall apart in bitter recrimination? Will the static timing of a MIDI file work alongside the fresh live-loops or stick out like a sore thumb? 2) Any ideas as to how to go about it? I've messed about with my ipad trying to set up Loopy with Effectrix and it shows some promise, but it seems a bit clunky for live use and I'd need another app to be responsible for the bass midi track. Things could get really complicated with multiple songs in a set. So there's Ableton I guess? My health suffers when using computers so that's a last resort for me. Or hardware. Few loopers have rock solid MIDI sync (the Rang?), and then it would need to be attached to a computer/ipad anyway for teh glitches..... Any thoughts or insight much appreciated - as you can tell the options and obstacles get rather confusing. It would be nice to get started with a subset of the setup and then build up from there. Thanks, Ak --001a11c3df84a68cf2050540c7ba Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
Hey all,

I've been thinkin= g for a long time about how to accomplish the above and it looks like time = to figure it out.

The idea is a vox+guitar setup using a loope= r for beats (rather than chords or whole arrangements).=C2=A0 The loops wou= ld be glitched up to provide fills/variation/dynamics using something like = Effectrix or Stutter Edit since there doesn't seem to be a hardware opt= ion for this.

This would then be expanded to include a cheap hardwar= e synth like a Microbrute to perform bass duties - run off of a MIDI file i= n an ipad app or laptop.

The thinking behind this is to h= ave a raw, live feel (because prerecorded beats + drum machines sound like = karaoke to me), with dynamism provided by the glitching and not being stuck= with two-part looping a la Boss/Boomerang etc.=C2=A0 I'm sure most of = you are all too aware of the fine balances and compromises involved in tryi= ng to liveloop actual songs while keeping it "real" or at least &= quot;unreal" in an exciting way!

So my questions are= :

1) Is this both feasible and as cool as I think it will= be?=C2=A0 Will the marriage between MIDI clock, on the fly beats and a MID= I-driven analog monosynth produce sweet harmony or fall apart in bitter rec= rimination?=C2=A0 Will the static timing of a MIDI file work alongside the = fresh live-loops or stick out like a sore thumb?

2) Any ideas as to how to go about it?=C2=A0 I've messed about with = my ipad trying to set up Loopy with Effectrix and it shows some promise, bu= t it seems a bit clunky for live use and I'd need another app to be res= ponsible for the bass midi track.=C2=A0 Things could get really complicated= with multiple songs in a set.

So there's Ableton I g= uess?=C2=A0 My health suffers when using computers so that's a last res= ort for me.

Or hardware.=C2=A0 Few loopers have rock soli= d MIDI sync (the Rang?), and then it would need to be attached to a compute= r/ipad anyway for teh glitches.....

Any thoughts or insig= ht much appreciated - as you can tell the options and obstacles get rather = confusing.=C2=A0 It would be nice to get started with a subset of the setup= and then build up from there.

Thanks,

= Ak

--001a11c3df84a68cf2050540c7ba-- From Loopers-Delight-request@loopers-delight.com Wed Oct 15 13:45:33 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 823C4167602; Wed, 15 Oct 2014 13:45:33 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 480 seconds by postgrey-1.34 at arsenic; Wed, 15 Oct 2014 13:45:33 UTC DKIM-Signature: v=1; a=rsa-sha1; c=relaxed; d=helpwantedproductions.com; h=message-id:date:subject:from:to:mime-version:content-type: content-transfer-encoding; s=helpwantedproductions.com; bh=mhChG Vl0GAp29EaCK3gJHxNeDMM=; b=w3R8JGIhS7YH1+fFMBwzUibjqsSncAkEz5p9L wKOR6mooply8CfCVVbjzIe9buOfoQ7cRHtSI+JccMQ4TcknibJoLHjYxLcgud1tc vIrlywYImspclYAw4eutvg4zCD+Wzbzxidrj0gms3u9WkqYMBaHOdZxil4MIhov/ v2WNjg= Message-ID: <5493453d50160300b5a15dd78b08b49e.squirrel@webmail.helpwantedproductions.com> Date: Wed, 15 Oct 2014 06:34:07 -0700 Subject: Psychedelic Halloween tracks from the 90s... From: legion@helpwantedproductions.com To: "Loopers Delight" , "AH" User-Agent: SquirrelMail/1.4.21 MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Resent-Message-ID: <3PLz0.A.DtC.9pnPUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123589 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 15 Oct 2014 13:45:33 +0000 (UTC) Found this in the vaults from my old indie band Overdrive Date Master. As I vaguely recall we were commissioned to deliver a "scary Halloween" song for a novelty CD to be released around 1999-2000. Instruments used include Moog Etherwave Theremin, tape echo, Boss RPS rack, Linn 9000, and a Library of Congress 8RPM turntable. Recorded on a good old Tascam 238 Syncassette. Free stream, Only $.99 download kids! All funds go to this year's candy fund for neighborhood kids (last year we had almost 200 kids visit!) Dig: https://davidtalento.bandcamp.com/track/flight-9000 Boo! --------------------------------------- NEW DAED SITE!! - Http://DaedSound.com DAED: Circuit Bent and Unusual Sound Devices "Making Something Extraordinary from the Ordinary" Music and Downloads at the New Online Site: http://davidtalento.bandcamp.com/ From Loopers-Delight-request@loopers-delight.com Thu Oct 16 17:27:07 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 10A7A18357A; Thu, 16 Oct 2014 17:27:06 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <543FFF1A.6000509@soundscapes.us> Date: Thu, 16 Oct 2014 13:23:38 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Galactic Travels Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123590 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 16 Oct 2014 17:27:06 +0000 (UTC) GALACTIC TRAVELS ON WDIY http://galactictravels.info Please SHARE so that more people can listen to and support the artists. Tonight at 11 pm EDT/GMT-4 on Galactic Travels, I'll continue month-long Special Focus on Craig Padilla. The Featured CD at Midnight will be "The Heart of the Soul" on Spotted Peccary Records. The Special Focus page is at http://soundscapes.us/gt/playlists/2014/focus.html#oct Galactic Travels is an electronic, ambient, and space music show that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville and Trexlertown, and on the internet at http://wdiy.org. Become a WDIY member now! http://ow.ly/pJhCf From Loopers-Delight-request@loopers-delight.com Fri Oct 17 16:10:15 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 42DDC18357B; Fri, 17 Oct 2014 16:10:15 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha1; c=relaxed; d=helpwantedproductions.com; h=message-id:date:subject:from:to:mime-version:content-type: content-transfer-encoding; s=helpwantedproductions.com; bh=cwxk9 oIYckdNHPCCL5rQ0X2CdOA=; b=RyJglPmlXIUruKL6fNq0zU8Ssg941pPPvqSfr mcpDnLTzB4tLqEzvd+iN8ro8/GGhyEK2dET8bxt3isJw0GRjP3pbT09FC6U7G/R6 qayRbWhrmhikG83e7MtQa/xc+2ZZi03zSKpAuumkZlQIIxiloPiFkmOesf6AEthf 7URJkU= Message-ID: Date: Fri, 17 Oct 2014 09:06:48 -0700 Subject: korg gadget for Ipad? From: legion@helpwantedproductions.com To: "Loopers Delight" , "DH" User-Agent: SquirrelMail/1.4.21 MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: quoted-printable Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123591 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 17 Oct 2014 16:10:15 +0000 (UTC) Hi all, I've done some searches but must be missing something so i though= t I'd post here. If I'm full of it and threads exist that answer these questions please point me to them and I'll shut up ASAP :) I'm looking for hands on reviews/input from hardware synth oriented folks who have used korg's Igadget IOS app on ipad. It seems a bit overkill (I don't use a DAW for example) but I like the idea of having multiple synths, drum machines, etc all synced and being able to record it live an= d then spit out a high resolution audio file. Back in the day (like, last week) I'd hook up three or four boxes (Er1, F= R revolution, DSI Evolver for example) with a mixer and delay on the effects send and do a track live. Wondering if this IPad app could come close and how in interacts with midi in, other external controllers, etc. As a guidepost I &^%$in LOVE Animoog and use Modular a bit but I shy awar= e from really complicated things like Jasuto (sp?). I play with Reactable but don't really see it being useful for an actual live performance so I'= m looking for something that's powerful but can be dead simple and self contained. Any feedback appreciated. I have an ambient set coming up in a few months and am considering trying something new and simplified for a track or two so it's ability to do more mellow stuff rather than 4x4 TeKnow! is also something I'm curious about. Thanks for any/All feedback! --=20 --------------------------------------- NEW DAED SITE!! - Http://DaedSound.com DAED: Circuit Bent and Unusual Sound Devices "Making Something Extraordinary from the Ordinary" Music and Downloads at the New Online Site: http://davidtalento.bandcamp.com/ From Loopers-Delight-request@loopers-delight.com Fri Oct 17 17:07:33 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A5C27183580; Fri, 17 Oct 2014 17:07:33 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=content-type:mime-version:subject:from:in-reply-to:date :content-transfer-encoding:message-id:references:to; bh=udMZg0CymAaak3gmEOPVgSE2Vta2WobWh5xesPDgQTM=; b=kl1be7E0cOOfR4FdzXpcTyKtvqsPhTng3UWwBI0KM2xuuRKSurVVVqC01c0vUbiHKs Aflhk2X2wAU4IAAlfSiDeSK/YG8tTP31VCKDs+ZMiHhLFi28DtcVSTuCnFs3pMFl5gF2 cOOrnWAwis2VsqMOF9gJseb1v2fRU5AlWyD8fp5HrujD0alofpn2Z3rRHOrCB7Ty1cNQ rgyFsostMKb48a7c+0wwZqJsYuhFP4aAY+KVs5EDyBkHS1H2x+SOJdSxzYGp2w4jXbVJ IBkgj8v7IstU5k1GToHxS/cF8KxvfQ7ZiGsqSRb+o48oNiDJ9PAeuW8jMKYAcnJHxY+T 0XSg== X-Received: by 10.70.19.101 with SMTP id d5mr9734482pde.79.1413565447846; Fri, 17 Oct 2014 10:04:07 -0700 (PDT) Content-Type: text/plain; charset=us-ascii Mime-Version: 1.0 (Apple Message framework v1085) Subject: Re: korg gadget for Ipad? From: RP Collier In-Reply-To: Date: Fri, 17 Oct 2014 10:04:05 -0700 Content-Transfer-Encoding: quoted-printable Message-Id: <52035C61-2C25-4B9E-A8AE-465EA1434368@gmail.com> References: To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.1085) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123592 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 17 Oct 2014 17:07:33 +0000 (UTC) On Oct 17, 2014, at 9:06 AM, legion@helpwantedproductions.com wrote: > Any feedback appreciated. I have an ambient set coming up in a few = months > and am considering trying something new and simplified for a track or = two > so it's ability to do more mellow stuff rather than 4x4 TeKnow! is = also > something I'm curious about. I like Gadget but have only used it a little and not for live = performance, it does seem to be more techno-groove oriented than = ambient. For ambient live performance I would suggest ThumbJam as an instrument = -- and Samplr and Borderlands as controller / manipulators though you = essentially have to preload these with tracks or samples. BobC http://soundcloud.com/rpcollier= From Loopers-Delight-request@loopers-delight.com Fri Oct 17 19:05:31 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 32477183570; Fri, 17 Oct 2014 19:05:31 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=references:mime-version:in-reply-to:content-type :content-transfer-encoding:message-id:cc:from:subject:date:to; bh=r1bcAerjeOScH2bdy1bPoTePK0lSbUqzE8YaOl7BIiw=; b=Sqt3tqOghHmx5OFMkSUh+M3kpY4BoWoLyZxEvc8SNrJu20ah0K4EMgbUJ36s0HRQZM ZTXK9Fp//VtCCks/XVCJtshaffY6jWbiHfjBqqARBRlhsw5lchssXWpIPB0/+Vyv/txZ oKrTVbTqTMRip3ZHTzZMNf+tWfTFuBvTp9titQ7HXvrIs4yWRyMONF7hUDD5NTWcevgK MeQX608AtfxozxT6w6XQoOj8E+8tZh3WTdJ3XiH6a2Gc5wDW7QA4uN//Z+fZvibsbYqu Us66EczgzixoI2Gl9KoJnCYEFaQ498gXg63DbKV+WNSCV6SQGDJFvyveoy2Z9T0M7vVU K1sg== X-Received: by 10.221.3.195 with SMTP id nz3mr2402800vcb.43.1413572526055; Fri, 17 Oct 2014 12:02:06 -0700 (PDT) References: Mime-Version: 1.0 (1.0) In-Reply-To: Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Message-Id: Cc: DH X-Mailer: iPhone Mail (11D257) From: Ed Drake Subject: Re: korg gadget for Ipad? Date: Fri, 17 Oct 2014 15:02:02 -0400 To: "Loopers-Delight@loopers-delight.com" Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123593 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 17 Oct 2014 19:05:31 +0000 (UTC) Gadget is a lot of fun but I'm not sure how great it would be for live use. T= he midi implementation is not great you can only send midi to whichever gadg= et is in the foreground. It has a piano roll editor.=20 I guess it depends on what you hope to do with live. It does allow you to export to=20 Ableton which I don't have so I can't speak to that. Supposedly that works r= eally well. Ask more specific questions maybe I can answer them. Sent from my iPhone > On Oct 17, 2014, at 12:06 PM, legion@helpwantedproductions.com wrote: >=20 > Hi all, I've done some searches but must be missing something so i thought= > I'd post here. If I'm full of it and threads exist that answer these > questions please point me to them and I'll shut up ASAP :) >=20 > I'm looking for hands on reviews/input from hardware synth oriented folks > who have used korg's Igadget IOS app on ipad. It seems a bit overkill (I > don't use a DAW for example) but I like the idea of having multiple > synths, drum machines, etc all synced and being able to record it live and= > then spit out a high resolution audio file. >=20 > Back in the day (like, last week) I'd hook up three or four boxes (Er1, FR= > revolution, DSI Evolver for example) with a mixer and delay on the > effects send and do a track live. Wondering if this IPad app could come > close and how in interacts with midi in, other external controllers, etc. >=20 > As a guidepost I &^%$in LOVE Animoog and use Modular a bit but I shy aware= > from really complicated things like Jasuto (sp?). I play with Reactable > but don't really see it being useful for an actual live performance so I'm= > looking for something that's powerful but can be dead simple and self > contained. >=20 > Any feedback appreciated. I have an ambient set coming up in a few months > and am considering trying something new and simplified for a track or two > so it's ability to do more mellow stuff rather than 4x4 TeKnow! is also > something I'm curious about. >=20 > Thanks for any/All feedback! >=20 >=20 >=20 > --=20 > --------------------------------------- > NEW DAED SITE!! - Http://DaedSound.com > DAED: Circuit Bent and Unusual Sound Devices > "Making Something Extraordinary from the Ordinary" >=20 > Music and Downloads at the New Online Site: > http://davidtalento.bandcamp.com/ >=20 >=20 >=20 From Loopers-Delight-request@loopers-delight.com Sat Oct 18 08:40:25 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 3AFF018357B; Sat, 18 Oct 2014 08:40:25 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <544226A3.7050605@soundscapes.us> Date: Sat, 18 Oct 2014 04:36:51 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen To Thought Radio Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: <1zBNAB.A.HIH.5diQUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123594 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 18 Oct 2014 08:40:25 +0000 (UTC) THOUGHT RADIO http://soundscapes.us/thoughtradio Please SHARE so that more people can listen to and support the artists. Thought Radio, the Saturday edition of The AM/FM Show, is on at 6 am EDT/GMT-4. In Phase One, I will continue the special on Sequences Electronic Music Magazine's sampler CDs. In Phase 3, the Artist of the Month is Pallas. The show features electronic, ambient, and spacemusic at the beginning, an eclectic mix of genres in the middle, and winds up with Progressive Rock. Tune in at 91.7 FM or on the internet at http://muhlenberg.edu/wmuh/stream.html From Loopers-Delight-request@loopers-delight.com Sat Oct 18 10:13:46 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id DB3C118356F; Sat, 18 Oct 2014 10:13:45 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [z2JSr1fxnjkq1Wq4ofu3t8EGLvyVfumz] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_73048168-1bcc-428d-9d63-038e94f80cda_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: First ever etc Date: Sat, 18 Oct 2014 10:10:19 +0000 Importance: Normal In-Reply-To: <5423855F.1040509@cruzio.com> References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com> MIME-Version: 1.0 X-OriginalArrivalTime: 18 Oct 2014 10:10:20.0248 (UTC) FILETIME=[B91CA580:01CFEABB] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123595 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 18 Oct 2014 10:13:45 +0000 (UTC) --_73048168-1bcc-428d-9d63-038e94f80cda_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This may be old hat to everyone else in the looposphere=2C but here you can= listen to "the Bells of Atlantis" from 1952 featuring the work of Louis an= d Bebe Barron which is generally considered the first ever electromagnetic = tape constructed loops. And given only music boxes did it technologically e= arlier=2C then this is kind of the Eve of looping. I've heard bits before= =2C but not seen (as much as possible given the quality of the print and tr= ansfer) the entirety.=20 http://www.youtube.com/watch?v=3DHE-7qEftad8 It certainly gave me a frisson. I hope you like ig = --_73048168-1bcc-428d-9d63-038e94f80cda_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
This may be old hat to ever= yone else in the looposphere=2C but here you can listen to "the Bells of At= lantis" from 1952 featuring the work of Louis and Bebe Barron which is gene= rally considered the first ever electromagnetic tape constructed loops. And= given only music boxes did it technologically earlier=2C then this is kind= of the Eve of looping. I've heard bits before=2C but not seen (as much as = possible given the quality of the print and transfer) the entirety. =3B=

http://www.youtube.com/watch?v=3DHE-7qEftad8<= /div>

It certainly gave me a frisson. I hope you like

ig
= --_73048168-1bcc-428d-9d63-038e94f80cda_-- From Loopers-Delight-request@loopers-delight.com Sat Oct 18 16:12:03 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 27E331675F5; Sat, 18 Oct 2014 16:12:03 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Authority-Analysis: v=2.1 cv=NNJb+iKg c=1 sm=1 tr=0 a=NXWg/mbnblgifp8ls2g00g==:117 a=NXWg/mbnblgifp8ls2g00g==:17 a=hOpmn2quAAAA:8 a=yUnIBFQkZM0A:10 a=8nJEP1OIZ-IA:10 a=69EAbJreAAAA:8 a=fVa03ndMAAAA:20 a=viOPmF7E-5hFiQLtpUQA:9 a=wPNLvfGTeEIA:10 a=voZrjb6_8qcA:10 a=EfJqPEOeqlMA:10 Content-Type: text/plain; charset=iso-8859-1 Mime-Version: 1.0 (Mac OS X Mail 6.6 \(1510\)) Subject: Re: First ever etc From: Ted Killian In-Reply-To: Date: Sat, 18 Oct 2014 09:08:36 -0700 Content-Transfer-Encoding: quoted-printable Message-Id: References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com> To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.1510) Resent-Message-ID: <7aBD3.A.P_B.SFpQUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123596 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 18 Oct 2014 16:12:03 +0000 (UTC) Thanks for sharing. A great piece from the history vaults. On Oct 18, 2014, at 3:10 AM, Ivodne Galatea wrote: > This may be old hat to everyone else in the looposphere, but here you = can listen to "the Bells of Atlantis" from 1952 featuring the work of = Louis and Bebe Barron which is generally considered the first ever = electromagnetic tape constructed loops. And given only music boxes did = it technologically earlier, then this is kind of the Eve of looping. = I've heard bits before, but not seen (as much as possible given the = quality of the print and transfer) the entirety.=20 >=20 > http://www.youtube.com/watch?v=3DHE-7qEftad8 >=20 > It certainly gave me a frisson. I hope you like >=20 > ig From Loopers-Delight-request@loopers-delight.com Sat Oct 18 16:51:28 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 1D266167646; Sat, 18 Oct 2014 16:51:27 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [zZl3p5QFPOxi1X87n5Z9CMwjsvSPbXqk] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_37af2a70-ac5e-4980-94ee-385589a3a933_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: First ever etc Date: Sat, 18 Oct 2014 16:48:00 +0000 Importance: Normal In-Reply-To: References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com> , MIME-Version: 1.0 X-OriginalArrivalTime: 18 Oct 2014 16:48:00.0931 (UTC) FILETIME=[472FEF30:01CFEAF3] Resent-Message-ID: <7sjmBC.A.IUC.PqpQUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123597 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 18 Oct 2014 16:51:27 +0000 (UTC) --_37af2a70-ac5e-4980-94ee-385589a3a933_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable There's a lot detail here - especially about their relationship with Cage http://www.effectrode.com/the-self-destructing-modules-behind-revolutionary= -1956-sountrack-of-forbidden-planet/ Those people (effectrode) made repros of the Barron's equipment for the BBC= apparently > Subject: Re: First ever etc > From: tedkillian@charter.net > Date: Sat=2C 18 Oct 2014 09:08:36 -0700 > To: Loopers-Delight@loopers-delight.com >=20 > Thanks for sharing. A great piece from the history vaults. >=20 > On Oct 18=2C 2014=2C at 3:10 AM=2C Ivodne Galatea w= rote: >=20 > > This may be old hat to everyone else in the looposphere=2C but here you= can listen to "the Bells of Atlantis" from 1952 featuring the work of Loui= s and Bebe Barron which is generally considered the first ever electromagne= tic tape constructed loops. And given only music boxes did it technological= ly earlier=2C then this is kind of the Eve of looping. I've heard bits befo= re=2C but not seen (as much as possible given the quality of the print and = transfer) the entirety.=20 > >=20 > > http://www.youtube.com/watch?v=3DHE-7qEftad8 > >=20 > > It certainly gave me a frisson. I hope you like > >=20 > > ig >=20 = --_37af2a70-ac5e-4980-94ee-385589a3a933_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
There's a lot detail here - espe= cially about their relationship with Cage


Those people (effectrode) made repros= of the Barron's equipment for the BBC apparently

>=3B S= ubject: Re: First ever etc
>=3B From: tedkillian@charter.net
>=3B= Date: Sat=2C 18 Oct 2014 09:08:36 -0700
>=3B To: Loopers-Delight@loop= ers-delight.com
>=3B
>=3B Thanks for sharing. A great piece from= the history vaults.
>=3B
>=3B On Oct 18=2C 2014=2C at 3:10 AM= =2C Ivodne Galatea <=3Btakas20@hotmail.com>=3B wrote:
>=3B
>= =3B >=3B This may be old hat to everyone else in the looposphere=2C but h= ere you can listen to "the Bells of Atlantis" from 1952 featuring the work = of Louis and Bebe Barron which is generally considered the first ever elect= romagnetic tape constructed loops. And given only music boxes did it techno= logically earlier=2C then this is kind of the Eve of looping. I've heard bi= ts before=2C but not seen (as much as possible given the quality of the pri= nt and transfer) the entirety.
>=3B >=3B
>=3B >=3B http://w= ww.youtube.com/watch?v=3DHE-7qEftad8
>=3B >=3B
>=3B >=3B It = certainly gave me a frisson. I hope you like
>=3B >=3B
>=3B &g= t=3B ig
>=3B
= --_37af2a70-ac5e-4980-94ee-385589a3a933_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 19 14:15:57 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 2EDA0167609; Sun, 19 Oct 2014 14:15:57 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [2J9xL/pATkWEwRYvnhqpfOb2McgZEaHU] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_510e7a98-8d65-4536-b151-2774a8a2017d_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Another first Date: Sun, 19 Oct 2014 14:12:30 +0000 Importance: Normal In-Reply-To: References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com>,,, MIME-Version: 1.0 X-OriginalArrivalTime: 19 Oct 2014 14:12:30.0514 (UTC) FILETIME=[B83D0920:01CFEBA6] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123598 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 19 Oct 2014 14:15:57 +0000 (UTC) --_510e7a98-8d65-4536-b151-2774a8a2017d_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Again=2C this may be very old hat indeed to some=2C but I was talking today= with someone about the very first description of looping=2C which I said w= as renaissance=2C and had to dig it out to show. I couldn't find it on the= looper site=2C so I thought I write to everyone so that those who don't kn= ow=2C now do It's from the New Atlantis by Francis Bacon=2C and it goes "We have also sound-houses=2C where we practice and demonstrate all sounds = and their generation. We have harmonies=2C which you have not=2C of quarter= -sounds and lesser slides of sounds. Divers instruments of music likewise t= o you unknown=2C some sweeter than any you have=2C together with bells and = rings that are dainty and sweet. We represent small sounds as great and dee= p=2C likewise great sounds extenuate and sharp=3B we make divers tremblings= and warblings of sounds=2C which in their original are entire. We represen= t and imitate all articulate sounds and letters=2C and the voices and notes= of beasts and birds. We have certain helps which set to the ear do further= the hearing greatly. We also have divers strange and artificial echoes=2C = reflecting the voice many times=2C and as it were tossing it=2C and some th= at give back the voice louder than it came=2C some shriller and some deeper= =3B yea=2C some rendering the voice differing in the letters or articulate = sound from that they receive. We have also means to convey sounds in trunks= and pipes=2C in strange lines and distances." which just has to be first conscious description of artificially delayed an= d enhanced reproduction of an original sound. An of the internet too if it = comes to that. The rest of it's pretty good too - http://www.bartleby.com/3/2/3.html Apologies to those for whom this is old hat ig = --_510e7a98-8d65-4536-b151-2774a8a2017d_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

Again=2C this may be very ol= d hat indeed to some=2C but I was talking today with someone about the very= first description of looping=2C which I said was renaissance=2C and  = =3Bhad to dig it out to show. I couldn't find it on the looper site=2C so I= thought I write to everyone so that those who don't know=2C now do

It's from the New Atlantis by Francis Bacon= =2C and it goes


"We have also sound-h= ouses=2C where we practice and demonstrate all sounds and their generation.= We have harmonies=2C which you have not=2C of quarter-sounds and lesser sl= ides of sounds. Divers instruments of music likewise to you unknown=2C some= sweeter than any you have=2C together with bells and rings that are d= ainty and sweet. We represent small sounds as great and deep=2C likewise gr= eat sounds extenuate and sharp=3B we make divers tremblings and warblings o= f sounds=2C which in their original are entire. We represent and imitate al= l articulate sounds and letters=2C and the voices and notes of beasts and b= irds. We have certain helps which set to the ear do further the hearing gre= atly. We also have divers strange and artificial echoes=2C reflecting the v= oice many times=2C and as it were tossing it=2C and some that give back the= voice louder than it came=2C some shriller and some deeper=3B yea=2C some = rendering the voice differing in the letters or articulate sound from that = they receive. We have also means to convey sounds in trunks and pipes=2C in= strange lines and distances."

which just h= as to be first conscious description of artificially delayed and enhanced r= eproduction of an original sound. An of the internet too if it comes to tha= t.

The rest of it's pretty good too - =3Bhttp://www.bartleby.com/3/2/3.html

Apologies to those for whom this is old hat

ig<= /div>

= --_510e7a98-8d65-4536-b151-2774a8a2017d_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 19 17:16:07 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id BB9F61675EA; Sun, 19 Oct 2014 17:16:07 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 380 seconds by postgrey-1.34 at arsenic; Sun, 19 Oct 2014 17:16:07 UTC DomainKey-Signature: a=rsa-sha1; q=dns; c=nofws; s=dk20050327; d=earthlink.net; b=lsZmU+Nr+wwz/PH2wAQXG9IomathicskftjwHxYFhf20V/hYe6+xRflvthzqlA1v; h=Received:From:Content-Type:Message-Id:Mime-Version:Subject:Date:References:To:In-Reply-To:X-Mailer:X-ELNK-Trace:X-Originating-IP; From: David P Coffin Content-Type: multipart/alternative; boundary="Apple-Mail=_26F086D8-A028-405C-A492-29A688D96066" Message-Id: <2CEECBA6-862B-44BF-8170-F053FE51CEE6@earthlink.net> Mime-Version: 1.0 (Mac OS X Mail 6.6 \(1510\)) Subject: Re: Another first Date: Sun, 19 Oct 2014 10:06:07 -0700 References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com>,,, To: Loopers-Delight@loopers-delight.com In-Reply-To: X-Mailer: Apple Mail (2.1510) X-ELNK-Trace: 0cf8a1273a73c9ff1aa676d7e74259b7b3291a7d08dfec7973f149efe6cc4ffed417a7de1d3f6000350badd9bab72f9c350badd9bab72f9c350badd9bab72f9c X-Originating-IP: 68.118.64.189 Resent-Message-ID: <0Ws8i.A.qiG.XH_QUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123599 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 19 Oct 2014 17:16:07 +0000 (UTC) --Apple-Mail=_26F086D8-A028-405C-A492-29A688D96066 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=iso-8859-1 Really cool, thanks! Who KNOWS what all's back there in the hat = closet... In any case, it's good to rummage around, to remember all = you've forgotten:) On Oct 19, 2014, at 7:12 AM, Ivodne Galatea wrote: >=20 > Again, this may be very old hat indeed to some, but I was talking = today with someone about the very first description of looping, which I = said was renaissance, and had to dig it out to show. I couldn't find it = on the looper site, so I thought I write to everyone so that those who = don't know, now do >=20 > It's from the New Atlantis by Francis Bacon, and it goes >=20 >=20 > "We have also sound-houses, where we practice and demonstrate all = sounds and their generation. We have harmonies, which you have not, of = quarter-sounds and lesser slides of sounds. Divers instruments of music = likewise to you unknown, some sweeter than any you have, together with = bells and rings that are dainty and sweet. We represent small sounds as = great and deep, likewise great sounds extenuate and sharp; we make = divers tremblings and warblings of sounds, which in their original are = entire. We represent and imitate all articulate sounds and letters, and = the voices and notes of beasts and birds. We have certain helps which = set to the ear do further the hearing greatly. We also have divers = strange and artificial echoes, reflecting the voice many times, and as = it were tossing it, and some that give back the voice louder than it = came, some shriller and some deeper; yea, some rendering the voice = differing in the letters or articulate sound from that they receive. We = have also means to convey sounds in trunks and pipes, in strange lines = and distances." >=20 > which just has to be first conscious description of artificially = delayed and enhanced reproduction of an original sound. An of the = internet too if it comes to that. >=20 > The rest of it's pretty good too - http://www.bartleby.com/3/2/3.html >=20 > Apologies to those for whom this is old hat >=20 > ig >=20 >=20 Visit me online=20 Painting: http://eyesandskies.blogspot.com/ http://dpc-watermedia.blogspot.com/ Sewing: http://myvirtualworkshop.blogspot.com http://goo.gl/9Q39fu http://shirtmakingwithdpc.com http://www.pinterest.com/shirtmakingwith/ --Apple-Mail=_26F086D8-A028-405C-A492-29A688D96066 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=iso-8859-1 Really cool, thanks! Who KNOWS = what all's back there in the hat closet... In any case, it's good to = rummage around, to remember all you've forgotten:)

On = Oct 19, 2014, at 7:12 AM, Ivodne Galatea <takas20@hotmail.com> = wrote:


Again, this may be very old hat indeed to some, but I = was talking today with someone about the very first description of = looping, which I said was renaissance, and  had to dig it out to = show. I couldn't find it on the looper site, so I thought I write to = everyone so that those who don't know, now do

It's = from the New Atlantis by Francis Bacon, and it = goes


"We have also = sound-houses, where we practice and demonstrate all sounds and their = generation. We have harmonies, which you have not, of quarter-sounds and = lesser slides of sounds. Divers instruments of music likewise to you = unknown, some sweeter than any you = have, together with bells and rings that are dainty and sweet. We = represent small sounds as great and deep, likewise great sounds = extenuate and sharp; we make divers tremblings and warblings of sounds, = which in their original are entire. We represent and imitate all = articulate sounds and letters, and the voices and notes of beasts and = birds. We have certain helps which set to the ear do further the hearing = greatly. We also have divers strange and artificial echoes, reflecting = the voice many times, and as it were tossing it, and some that give back = the voice louder than it came, some shriller and some deeper; yea, some = rendering the voice differing in the letters or articulate sound from = that they receive. We have also means to convey sounds in trunks and = pipes, in strange lines and = distances."

which just has to be first = conscious description of artificially delayed and enhanced reproduction = of an original sound. An of the internet too if it comes to = that.

The rest of it's pretty good too = - 

Visit = me online 

Painting:
http://eyesandskies.blogspot.co= m/
http://dpc-watermedia.blogspot.com/

Sewing:
http://myv= irtualworkshop.blogspot.com
http://goo.gl/9Q39fu
http://shirtmakingw= ithdpc.com
http://www.pinterest.com/shirtmakingwith/

= --Apple-Mail=_26F086D8-A028-405C-A492-29A688D96066-- From Loopers-Delight-request@loopers-delight.com Sun Oct 19 20:12:16 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 66538183553; Sun, 19 Oct 2014 20:12:16 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <54441A4C.8070806@soundscapes.us> Date: Sun, 19 Oct 2014 16:08:44 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Thought Radio Playlist for October 18, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123600 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 19 Oct 2014 20:12:16 +0000 (UTC) http://soundscapes.us/thoughtradio/playlists/2014/141018.html Thought Radio is the Saturday edition of The AM/FM Show hosted by Bill Fox. You can expect to hear electronic, ambient, spacemusic, Progressive Rock, and an eclectic mix of other genres. The show airs from 6:00 am to 8:00 am EDT/GMT-4 on WMUH Allentown, 91.7 FM and streaming on the internet. Bill also hosts Afterglow every Thursday from 8:00 am to 9:30 am.http://soundscapes.us/afterglow/index.html Show #295 October 18, 2014. Recap: In Phase 1, I continued the special on Sequences electronic music magazine. In Phase 3, the Artist of the Month is Pallas. I played music from "Arrive Alive" on InsideOut. Phase I/Space: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Relativity Error Fogscapes I * Mindscapes Volume 1(Fox's Den) VA [Navigator] Ollss Sequences No. 28 Zanov Alone Again Virtual Future (none) Erik Wollo and Portico Weltenuhr (DiN) Bernhard Wostheinrich Jonn Serrie Galaxy Prime Day Star (New World) Phase II/Eclectic: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Jill Haley Seep Spring Song Mesa Verde Soundscapes (none) Jill Haley Sandstone Angles Mesa Verde Soundscapes (none) Peter Jennison Taps (Written In Coming Home (none) Stone) Luna Blanca Long Island Pirates Bay (none) Ray Spiegel Ensemble El Camino Alto Raga Jazz (Simla House) The Piano Guys Let It Go Wonders (Sony) Phase III/Progressive Rock: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Pallas The Ripper Arrive Alive (InsideOut) Heliopolis Take a Moment City of the Sun (10T) Jordan Rudess Dance on a Volcano The Road Home (Magna Carta) Alan Morse Cold Fusion * Four O'clock and Hysteria (InsideOut) * = excerpt ++ = Advanced CDR from artist VA = Various Artists (compilation) On the next show, I will continue the special on the sampler CDRs that came with each issue of Sequences electronic music magazine. The Artist of the Month is Pallas. Bill Fox ======================================================================== Host of Thought Radio, the Saturday edition of The AM/FM Show every other Saturday at 6:00 am. Phase 1: Electronic, ambient, and space music. Phase 2: Mixed bag of acoustic, electric, pop, or New Age. Phase 3: Progressive rock from past masters to contemporary releases. Website: http://soundscapes.us/thoughtradio MySpace: http://myspace.com/thoughtradio Facebook Page: http://facebook.com/thoughtradio Facebook Group: http://facebook.com/groups/thoughtradio Listen to WMUH Allentown locally at 91.7 FM or on-line at http://www.muhlenberg.edu/wmuh/stream.html Playlists are also published at http://billfox.blogspot.com RSS (2.0) feed from http://billfox.blogspot.com/rss.xml Atom (0.3) feed from http://billfox.blogspot.com/atom.xml ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Sun Oct 19 20:42:52 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A868A18355E; Sun, 19 Oct 2014 20:42:52 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <54442179.30408@soundscapes.us> Date: Sun, 19 Oct 2014 16:39:21 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Galactic Travels Playlist #915 for October 16, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123601 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 19 Oct 2014 20:42:52 +0000 (UTC) http://soundscapes.us/gt/playlists/2014/141002.html Galactic Travels is an electronic, ambient, and space music show, that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville and Trexlertown, and webcasting on the internet. Show #915 October 16, 2014. RECAP: On this show, I continued the month-long focus on Craig Padilla. The Featured CD at Midnight was "The Heart of the Soul" on Spotted Peccary Records.http://soundscapes.us/gt/playlists/2014focus.html#oct PLAYLIST: 11:04 pm ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Kevin Braheny Starflight 1 * Galaxies (Hearts of Space) Zanov Very Far Virtual Future (none) Bryan Carrigan Kaleidoscope Inspire (Peonies Music) Wombat_Army Crystal Harps Firsteight (none) Coemgin Cuil There Was No Gravity Murmurations (Ambient 5) Dirk Serries Remission The Origin Reversal (Projekt) Craig Padilla You Were Here The Heart of the Soul (Spotted Peccary) Craig Padilla Sense of Wonder The Heart of the Soul (Spotted Peccary) 12:00 am ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Craig Padilla Angel In My Eyes The Heart of the Soul (Spotted Peccary) Craig Padilla Heart of the Soul The Heart of the Soul (Spotted Peccary) Craig Padilla Lost In You The Heart of the Soul (Spotted Peccary) Craig Padilla New Directions The Heart of the Soul (Spotted Peccary) Craig Padilla Spirit Signs The Heart of the Soul (Spotted Peccary) Craig Padilla Sensual Beauty The Heart of the Soul (Spotted Peccary) Craig Padilla Midnight Encounter The Heart of the Soul (Spotted Peccary) Craig Padilla Divine Embrace The Heart of the Soul (Spotted Peccary) 1:00 am * = excerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist -- = Background music under interview NEXT SHOW: On the next Galactic Travels, I'll continue the month-long focus on Craig Padilla. The Featured CD at Midnight will be LP1 from "Sonar" on Fruits de Mer Records. WDIY Announcement: http://wdiy.org/post/next-galactic-travels-2014-10-23 Bill ========================================================================= Host of Galactic Travels, an electronic, ambient, and space music show, Thursdays at 11:04 pm on WDIY 88.1 FM in Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in Trexlertown and Fogelsville. Galactic Travels web site: http://galactictravels.info Listen to WDIY at http://wdiy.org/programs/galactic-travels on-line. Playlists are also published at http://billfox.blogspot.com ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Mon Oct 20 00:20:40 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D2ED3167609; Mon, 20 Oct 2014 00:20:40 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:content-type:message-id:mime-version:subject:date:references :to:in-reply-to; bh=WluKy8pt35pQ3v6P3pz2omL15tL+pEHQDFHSO4FhoZ8=; b=aREKQkhs4riO7oRoIb7k+WMUS+F2qmG51q7G3+sRQdrKFSccfCoVaD88vr5VLYwTJa CXQsBOcdg/i0QKBiGzdYTCRxpz56Mj4vt82pWDSerZovWrq1p5O+gRZmTi29HCNuxq2I jMambJ0C6keOf2mmLJtNfMf4ep/6kUXANM0dJpD8yv2ETf9Nox9FsV6XJJKbcOwJBpF6 6wtrPxtp1jODCpwmw7X2jdfRu09KkEz2Bv7U1lQoAuE5q3TWSjOjn+b93ofJnMOI/wBW XZTsGiCTPJdthfXdceOGMVjwPyEpq0lKR9t52Wz2mFOvMt1xDBNLul3/Bm2XMRgM1XEd DtdQ== X-Received: by 10.68.113.3 with SMTP id iu3mr24304192pbb.39.1413764233227; Sun, 19 Oct 2014 17:17:13 -0700 (PDT) From: Ed Durbrow X-Google-Original-From: Ed Durbrow Content-Type: multipart/alternative; boundary="Apple-Mail=_219EA814-7D13-40AB-AED6-A0036C453D9C" Message-Id: Mime-Version: 1.0 (Mac OS X Mail 7.0 \(1822\)) Subject: Re: Another first Date: Mon, 20 Oct 2014 09:17:09 +0900 References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com>,,, To: Loopers-Delight@loopers-delight.com In-Reply-To: X-Mailer: Apple Mail (2.1822) Resent-Message-ID: <4byowB.A.IvB.YVFRUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123602 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 20 Oct 2014 00:20:40 +0000 (UTC) --Apple-Mail=_219EA814-7D13-40AB-AED6-A0036C453D9C Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=iso-8859-1 And in the treble and ground lute duets of the 16th century, the ground = part consisted of 2-16 measures that were repeated over and over while = the treble part had variations over the top. On Oct 19, 2014, at 11:12 PM, Ivodne Galatea = wrote: >=20 > Again, this may be very old hat indeed to some, but I was talking = today with someone about the very first description of looping, which I = said was renaissance, and had to dig it out to show. I couldn't find it = on the looper site, so I thought I write to everyone so that those who = don't know, now do >=20 > It's from the New Atlantis by Francis Bacon, and it goes >=20 >=20 > "We have also sound-houses, where we practice and demonstrate all = sounds and their generation. We have harmonies, which you have not, of = quarter-sounds and lesser slides of sounds. Divers instruments of music = likewise to you unknown, some sweeter than any you have, together with = bells and rings that are dainty and sweet. We represent small sounds as = great and deep, likewise great sounds extenuate and sharp; we make = divers tremblings and warblings of sounds, which in their original are = entire. We represent and imitate all articulate sounds and letters, and = the voices and notes of beasts and birds. We have certain helps which = set to the ear do further the hearing greatly. We also have divers = strange and artificial echoes, reflecting the voice many times, and as = it were tossing it, and some that give back the voice louder than it = came, some shriller and some deeper; yea, some rendering the voice = differing in the letters or articulate sound from that they receive. We = have also means to convey sounds in trunks and pipes, in strange lines = and distances." >=20 > which just has to be first conscious description of artificially = delayed and enhanced reproduction of an original sound. An of the = internet too if it comes to that. >=20 > The rest of it's pretty good too - http://www.bartleby.com/3/2/3.html >=20 > Apologies to those for whom this is old hat >=20 > ig Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=3Dwatch https://soundcloud.com/ed-durbrow http://www9.plala.or.jp/edurbrow/ --Apple-Mail=_219EA814-7D13-40AB-AED6-A0036C453D9C Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=iso-8859-1 And in = the treble and ground lute duets of the 16th century, the ground part = consisted of 2-16 measures that were repeated over and over while the = treble part had variations over the top.

On Oct 19, = 2014, at 11:12 PM, Ivodne Galatea <takas20@hotmail.com> = wrote:


Again, this may be = very old hat indeed to some, but I was talking today with someone about = the very first description of looping, which I said was renaissance, and =  had to dig it out to show. I couldn't find it on the looper site, = so I thought I write to everyone so that those who don't know, now = do

It's from the New Atlantis by Francis Bacon, and = it goes


"We have also = sound-houses, where we practice and demonstrate all sounds and their = generation. We have harmonies, which you have not, of quarter-sounds and = lesser slides of sounds. Divers instruments of music likewise to you = unknown, some sweeter than any you have, = together with bells and rings that are dainty and sweet. We represent = small sounds as great and deep, likewise great sounds extenuate and = sharp; we make divers tremblings and warblings of sounds, which in their = original are entire. We represent and imitate all articulate sounds and = letters, and the voices and notes of beasts and birds. We have certain = helps which set to the ear do further the hearing greatly. We also have = divers strange and artificial echoes, reflecting the voice many times, = and as it were tossing it, and some that give back the voice louder than = it came, some shriller and some deeper; yea, some rendering the voice = differing in the letters or articulate sound from that they receive. We = have also means to convey sounds in trunks and pipes, in strange lines = and distances."

which just has to be = first conscious description of artificially delayed and enhanced = reproduction of an original sound. An of the internet too if it comes to = that.

The rest of it's pretty good too = - http://www.bartleby.com/3/2/3.html

Apo= logies to those for whom this is old = hat

ig

http://www.y= outube.com/user/edurbrow?feature=3Dwatch




= --Apple-Mail=_219EA814-7D13-40AB-AED6-A0036C453D9C-- From Loopers-Delight-request@loopers-delight.com Mon Oct 20 01:57:08 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A5D511675DE; Mon, 20 Oct 2014 01:57:08 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <54446B1B.8080903@cruzio.com> Date: Sun, 19 Oct 2014 18:53:31 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: re: korg gadget for Ipad? References: <20141019141557.A239C16764D@arsenic.violacea.com> In-Reply-To: <20141019141557.A239C16764D@arsenic.violacea.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit X-Antivirus: avast! (VPS 141019-1, 10/19/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123603 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 20 Oct 2014 01:57:08 +0000 (UTC) You should really check into the excellent iPad Apps for Musicians group on FaceBook. All your answers will be answered there by experts! Rick Walker > > Hi all, I've done some searches but must be missing something so i thought > I'd post here. If I'm full of it and threads exist that answer these > questions please point me to them and I'll shut up ASAP:) > > I'm looking for hands on reviews/input from hardware synth oriented folks > who have used korg's Igadget IOS app on ipad --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Mon Oct 20 15:39:34 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id ABBCD18355A; Mon, 20 Oct 2014 15:39:34 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [Rw7ajVW+FnlW+MKgUQEa4jvbSj8FQtY/] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_aebfc201-0966-4e77-b5a5-683bf09f1d19_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Noetically at the Loopfest Date: Mon, 20 Oct 2014 15:36:05 +0000 Importance: Normal In-Reply-To: <5423855F.1040509@cruzio.com> References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com> MIME-Version: 1.0 X-OriginalArrivalTime: 20 Oct 2014 15:36:06.0862 (UTC) FILETIME=[90A0BEE0:01CFEC7B] Resent-Message-ID: <3nmjPD.A.OrH.2ySRUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123604 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 20 Oct 2014 15:39:34 +0000 (UTC) --_aebfc201-0966-4e77-b5a5-683bf09f1d19_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Being on the other side of the world and unlikely to travel=2C but wanting = to respond to the kind offer of future attendance=2C I thought I would atte= nd in spirit and liveloop at the same time. So here it is a video of me pla= ying=2C except what you see is what I see: https://www.youtube.com/watch?v=3DoaDmIkV33GA Me=2C Hohner Pianet=2C Akai Headrush 2 (emulating tape) and Seymour Duncan = Deja Vu (emulating a long length Bucket Brigade) put through a Logidy EPSi = convolver.=20 A single take in real time against a collage of 5 Freesound field recording= s in a sequence on a Roland SP404x. So a performance. Only problem is that despite using line in you can hear the keys rattling a= s I thump them. Don't know how that happened. It was line-input to my Sony = PCM but the mike mustn't have turned off. = --_aebfc201-0966-4e77-b5a5-683bf09f1d19_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Being on the other side of = the world and unlikely to travel=2C but wanting to respond to the kind offe= r of future attendance=2C I thought I would attend in spirit and liveloop a= t the same time. So here it is a video of me playing=2C except what you see= is what I see:

https://www.youtube.com/watch?v=3DoaDmIkV33GA

Me=2C Hohner Pianet=2C Akai Headrush 2 (emulating tape) and = Seymour Duncan Deja Vu (emulating a long length Bucket Brigade) put through= a Logidy EPSi convolver. =3B

A single take in= real time against a collage of 5 Freesound field recordings in a sequence = on a Roland SP404x. So a performance.

Only problem= is that despite using line in you can hear the keys rattling as I thump th= em. Don't know how that happened. It was line-input to my Sony PCM but the = mike mustn't have turned off.
= --_aebfc201-0966-4e77-b5a5-683bf09f1d19_-- From Loopers-Delight-request@loopers-delight.com Mon Oct 20 16:05:11 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 166D118355D; Mon, 20 Oct 2014 16:05:11 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [TFzN6bWyzVi7Wmd6fBSVDrYzH9NNLL6K] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_04d5c170-b89c-4a21-943b-3c00134ee022_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Another first Date: Mon, 20 Oct 2014 16:01:41 +0000 Importance: Normal In-Reply-To: References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com>,,, , MIME-Version: 1.0 X-OriginalArrivalTime: 20 Oct 2014 16:01:42.0073 (UTC) FILETIME=[23AF5A90:01CFEC7F] Resent-Message-ID: <25kIcB.A.29H.2KTRUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123605 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 20 Oct 2014 16:05:11 +0000 (UTC) --_04d5c170-b89c-4a21-943b-3c00134ee022_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable I use a particular scoring system for planning and documenting loop=0A= compositions and performances (I call them Kaleidograms)=2C and one of the= =0A= inspirations (along with Islamic rhythm pie-charts and Takemitsu and Riley = graphic=0A= scores) is just such a piece by Bull =0A= =0A= =0A= =0A= http://en.wikipedia.org/wiki/Eye_music#mediaviewer/File:John_bull_sphera_mu= ndi.gif=0A= =0A= =0A= =0A= =0A= =0A= From: Ed Durbrow [mailto:edurbrow@gmail.com]=20 =0A= Sent: Monday=2C 20 October 2014 8:17 AM =0A= To: Loopers-Delight@loopers-delight.com =0A= Subject: Re: Another first=0A= =0A= =0A= =0A= And in the treble and ground=0A= lute duets of the 16th century=2C the ground part consisted of 2-16 measure= s that=0A= were repeated over and over while the treble part had variations over the t= op.=0A= =0A= =0A= =0A= On Oct 19=2C 2014=2C at 11:12 PM=2C=0A= Ivodne Galatea wrote:=0A= =0A= =0A= =0A= =0A= =0A= =0A= Again=2C this may be very old hat indeed to some=2C but I was talking today= with=0A= someone about the very first description of looping=2C which I said was=0A= renaissance=2C and had to dig it out to show. I couldn't find it on the=0A= looper site=2C so I thought I write to everyone so that those who don't kno= w=2C now=0A= do=0A= =0A= =0A= =0A= It's=0A= from the New Atlantis by Francis Bacon=2C and it goes=0A= =0A= =0A= =0A= =0A= =0A= "We=0A= have also sound-houses=2C where we practice and demonstrate all sounds and = their=0A= generation. We have harmonies=2C which you have not=2C of quarter-sounds an= d lesser=0A= slides of sounds. Divers instruments of music likewise to you unknown=2C so= me sweeter=0A= than any you have=2C together with bells and rings that are dainty and swee= t. We=0A= represent small sounds as great and deep=2C likewise great sounds extenuate= and=0A= sharp=3B we make divers tremblings and warblings of sounds=2C which in thei= r=0A= original are entire. We represent and imitate all articulate sounds and=0A= letters=2C and the voices and notes of beasts and birds. We have certain he= lps=0A= which set to the ear do further the hearing greatly. We also have divers=0A= strange and artificial echoes=2C reflecting the voice many times=2C and as = it were=0A= tossing it=2C and some that give back the voice louder than it came=2C some= =0A= shriller and some deeper=3B yea=2C some rendering the voice differing in th= e=0A= letters or articulate sound from that they receive. We have also means to= =0A= convey sounds in trunks and pipes=2C in strange lines and distances."=0A= =0A= =0A= =0A= which=0A= just has to be first conscious description of artificially delayed and enha= nced=0A= reproduction of an original sound. An of the internet too if it comes to th= at.=0A= =0A= =0A= =0A= The=0A= rest of it's pretty good too - http://www.bartleby.com/3/2/3.html=0A= =0A= =0A= =0A= Apologies=0A= to those for whom this is old hat=0A= =0A= =0A= =0A= ig=0A= =0A= =0A= =0A= Ed Durbrow=0A= =0A= Saitama=2C Japan=0A= =0A= http://www.youtube.com/user/edurbrow?feature=3Dwatch=0A= =0A= https://soundcloud.com/ed-durbrow=0A= =0A= http://www9.plala.or.jp/edurbrow/=0A= =0A= =0A= =0A= =0A= =0A= =0A= =0A= = --_04d5c170-b89c-4a21-943b-3c00134ee022_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

I use a particular scoring system for planning and documenting loop= =0A= compositions and performances (I call them Kaleidograms)=2C and one of the= =0A= inspirations (along with Islamic rhythm pie-charts and Takemitsu and Riley = graphic=0A= scores) is just such a piece by Bull

=0A= =0A=

 =3B

=0A= =0A=

http://en.wikipedia.org/wiki/Eye_music#mediaview= er/File:John_bull_sphera_mundi.gif

=0A= =0A=

 =3B

=0A= =0A=

 =3B

=0A= =0A=

From:= Ed Durbrow [mailto:edurbrow@gmail.com]
=0A= Sent: Monday=2C 20 October 2014 8:17 AM
=0A= To: Loopers-Delight@loopers-delight.com
=0A= Subject: Re: Another first

=0A= =0A=

 =3B

=0A= =0A=

And in the treble and ground=0A= lute duets of the 16th century=2C the ground part consisted of 2-16 measure= s that=0A= were repeated over and over while the treble part had variations over the t= op.

=0A= =0A=

 =3B

=0A= =0A=

On Oct 19=2C 2014=2C at 11:12 PM=2C=0A= Ivodne Galatea <=3Btakas20@hotmail= .com>=3B wrote:

=0A= =0A=


=0A=
=0A=

=0A= =0A=


=0A= Again=2C this may be very old hat indeed to some=2C but I was talking today= with=0A= someone about the very first description of looping=2C which I said was=0A= renaissance=2C and  =3Bhad to dig it out to show. I couldn't find it on= the=0A= looper site=2C so I thought I write to everyone so that those who don't kno= w=2C now=0A= do

=0A= =0A=

 =3B

=0A= =0A=

It's=0A= from the New Atlantis by Francis Bacon=2C and it goes

= =0A= =0A=

 =3B

=0A= =0A=

 =3B

=0A= =0A=

"We=0A= have also sound-houses=2C where we practice and demonstrate all sounds and = their=0A= generation. We have harmonies=2C which you have not=2C of quarter-sounds an= d lesser=0A= slides of sounds. Divers instruments of music likewise to you unknown=2C so= me sweeter=0A= than any you have=2C together with bells and rings that are dainty and swee= t. We=0A= represent small sounds as great and deep=2C likewise great sounds extenuate= and=0A= sharp=3B we make divers tremblings and warblings of sounds=2C which in thei= r=0A= original are entire. We represent and imitate all articulate sounds and=0A= letters=2C and the voices and notes of beasts and birds. We have certain he= lps=0A= which set to the ear do further the hearing greatly. We also have divers=0A= strange and artificial echoes=2C reflecting the voice many times=2C and as = it were=0A= tossing it=2C and some that give back the voice louder than it came=2C some= =0A= shriller and some deeper=3B yea=2C some rendering the voice differing in th= e=0A= letters or articulate sound from that they receive. We have also means to= =0A= convey sounds in trunks and pipes=2C in strange lines and distances."=

=0A= =0A=

 =3B

=0A= =0A=

which=0A= just has to be first conscious description of artificially delayed and enha= nced=0A= reproduction of an original sound. An of the internet too if it comes to th= at.

=0A= =0A=

 =3B

=0A= =0A=

The=0A= rest of it's pretty good too - =3Bhttp://www.bartleb= y.com/3/2/3.html

=0A= =0A=

 =3B

=0A= =0A=

Apologies=0A= to those for whom this is old hat

=0A= =0A=

 =3B

=0A= =0A=

ig

=0A= =0A=

 =3B

=0A= =0A=

Ed Durbrow

=0A= =0A=

Saitama=2C Japan

=0A= =0A=

http://www.youtube= .com/user/edurbrow?feature=3Dwatch

=0A= =0A=

https://soundcl= oud.com/ed-durbrow

=0A= =0A=

http://www9.pla= la.or.jp/edurbrow/

=0A= =0A=

 =3B

=0A= =0A=

 =3B=0A= =0A= =0A= =0A=

 =3B

= --_04d5c170-b89c-4a21-943b-3c00134ee022_-- From Loopers-Delight-request@loopers-delight.com Tue Oct 21 00:52:08 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 6AA8618355C; Tue, 21 Oct 2014 00:52:08 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:content-type:message-id:mime-version:subject:date:references :to:in-reply-to; bh=odr7V1m0QcdO4zOkjcrR0S7X92OtfQ9KsuGJ4G/00SM=; b=OYoNNEkQ+VZoIIcJQneGyjYjuOtwSKenQk9MU1sShP/4lnSP31CrPY2+yVioExilMY EfjR8exNzESq7lHm0g4ZIMmm39NzPQSlJM/jrRor9XWmcXODhdq6C3/EcBlZbuoy+ByX xHco9Q7ewaPc78MTIomjHXDDiQURPTkunoWi0pTAUQVYrNnrSfmxttmdIk1oe37kWi48 poJ95r0ViW1DRdZs//LYzPY0FFpjO1xg0SMGrRps1qOfX9rZcTz6g5oOAD0jbqnugaM1 dcaDIrSasfuwIdek3Jcdyd+4UB1siT3STJk/JxuWu/YqccJaup8bqWPDuEaJSvanC36z kVAQ== X-Received: by 10.68.175.196 with SMTP id cc4mr6368179pbc.147.1413852519691; Mon, 20 Oct 2014 17:48:39 -0700 (PDT) From: Ed Durbrow X-Google-Original-From: Ed Durbrow Content-Type: multipart/alternative; boundary="Apple-Mail=_7C1FDD03-ACE8-4F7E-B291-ADC073A88719" Message-Id: <755AE879-A1A7-4A73-8A5D-FF877B5DFA71@sea.plala.or.jp> Mime-Version: 1.0 (Mac OS X Mail 7.0 \(1822\)) Subject: Re: Another first Date: Tue, 21 Oct 2014 09:48:35 +0900 References: <20140925020041.9BF27183590@arsenic.violacea.com>,<5423855F.1040509@cruzio.com>,,, , To: Loopers-Delight@loopers-delight.com In-Reply-To: X-Mailer: Apple Mail (2.1822) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123606 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 21 Oct 2014 00:52:08 +0000 (UTC) --Apple-Mail=_7C1FDD03-ACE8-4F7E-B291-ADC073A88719 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 Truly an endless loop. I=92d be curious to see some of your scores. On Oct 21, 2014, at 1:01 AM, Ivodne Galatea wrote: > I use a particular scoring system for planning and documenting loop = compositions and performances (I call them Kaleidograms), and one of the = inspirations (along with Islamic rhythm pie-charts and Takemitsu and = Riley graphic scores) is just such a piece by Bull > =20 > = http://en.wikipedia.org/wiki/Eye_music#mediaviewer/File:John_bull_sphera_m= undi.gif > =20 > =20 > From: Ed Durbrow [mailto:edurbrow@gmail.com]=20 > Sent: Monday, 20 October 2014 8:17 AM > To: Loopers-Delight@loopers-delight.com > Subject: Re: Another first > =20 > And in the treble and ground lute duets of the 16th century, the = ground part consisted of 2-16 measures that were repeated over and over = while the treble part had variations over the top. > =20 > On Oct 19, 2014, at 11:12 PM, Ivodne Galatea = wrote: >=20 >=20 >=20 > Again, this may be very old hat indeed to some, but I was talking = today with someone about the very first description of looping, which I = said was renaissance, and had to dig it out to show. I couldn't find it = on the looper site, so I thought I write to everyone so that those who = don't know, now do > =20 > It's from the New Atlantis by Francis Bacon, and it goes > =20 > =20 > "We have also sound-houses, where we practice and demonstrate all = sounds and their generation. We have harmonies, which you have not, of = quarter-sounds and lesser slides of sounds. Divers instruments of music = likewise to you unknown, some sweeter than any you have, together with = bells and rings that are dainty and sweet. We represent small sounds as = great and deep, likewise great sounds extenuate and sharp; we make = divers tremblings and warblings of sounds, which in their original are = entire. We represent and imitate all articulate sounds and letters, and = the voices and notes of beasts and birds. We have certain helps which = set to the ear do further the hearing greatly. We also have divers = strange and artificial echoes, reflecting the voice many times, and as = it were tossing it, and some that give back the voice louder than it = came, some shriller and some deeper; yea, some rendering the voice = differing in the letters or articulate sound from that they receive. We = have also means to convey sounds in trunks and pipes, in strange lines = and distances." > =20 > which just has to be first conscious description of artificially = delayed and enhanced reproduction of an original sound. An of the = internet too if it comes to that. > =20 > The rest of it's pretty good too - http://www.bartleby.com/3/2/3.html > =20 > Apologies to those for whom this is old hat > =20 > ig > =20 > Ed Durbrow > Saitama, Japan > http://www.youtube.com/user/edurbrow?feature=3Dwatch > https://soundcloud.com/ed-durbrow > http://www9.plala.or.jp/edurbrow/ Ed Durbrow Saitama, Japan http://www.youtube.com/user/edurbrow?feature=3Dwatch https://soundcloud.com/ed-durbrow http://www9.plala.or.jp/edurbrow/ --Apple-Mail=_7C1FDD03-ACE8-4F7E-B291-ADC073A88719 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252 Truly = an endless loop. I=92d be curious to see some of your = scores.

On Oct 21, 2014, at 1:01 AM, Ivodne = Galatea <takas20@hotmail.com> = wrote:

I use a particular = scoring system for planning and documenting loop compositions and = performances (I call them Kaleidograms), and one of the inspirations = (along with Islamic rhythm pie-charts and Takemitsu and Riley graphic = scores) is just such a piece by Bull

 

 

 

From: Ed = Durbrow [mailto:edurbrow@gmail.com] 
Sent: Monday, 20 October 2014 = 8:17 AM
To: Loopers-Delight@looper= s-delight.com
Subject: Re: Another = first
 
And in the treble and ground lute duets of the 16th century, the = ground part consisted of 2-16 measures that were repeated over and over = while the treble part had variations over the top.
 
On Oct 19, 2014, at 11:12 PM, = Ivodne Galatea <takas20@hotmail.com> = wrote:



Again, this = may be very old hat indeed to some, but I was talking today with someone = about the very first description of looping, which I said was = renaissance, and  had to dig it out to show. I couldn't find it on = the looper site, so I thought I write to everyone so that those who = don't know, now do

 

It's = from the New Atlantis by Francis Bacon, and it = goes

 

 

"We have also sound-houses, where = we practice and demonstrate all sounds and their generation. We have = harmonies, which you have not, of quarter-sounds and lesser slides of = sounds. Divers instruments of music likewise to you unknown, some = sweeter than any you have, together = with bells and rings that are dainty and sweet. We represent small = sounds as great and deep, likewise great sounds extenuate and sharp; we = make divers tremblings and warblings of sounds, which in their original = are entire. We represent and imitate all articulate sounds and letters, = and the voices and notes of beasts and birds. We have certain helps = which set to the ear do further the hearing greatly. We also have divers = strange and artificial echoes, reflecting the voice many times, and as = it were tossing it, and some that give back the voice louder than it = came, some shriller and some deeper; yea, some rendering the voice = differing in the letters or articulate sound from that they receive. We = have also means to convey sounds in trunks and pipes, in strange lines = and distances."

 

which = just has to be first conscious description of artificially delayed and = enhanced reproduction of an original sound. An of the internet too if it = comes to that.

 

The = rest of it's pretty good too - http://www.bartleby.com/3/2/3.html

 

Apologies to those for whom this is old = hat

 

ig
 
Ed = Durbrow
Saitama, = Japan

http://www.y= outube.com/user/edurbrow?feature=3Dwatch




= --Apple-Mail=_7C1FDD03-ACE8-4F7E-B291-ADC073A88719-- From Loopers-Delight-request@loopers-delight.com Tue Oct 21 17:13:16 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 3555B183558; Tue, 21 Oct 2014 17:13:16 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <56514f0bdbaf5c9f1814af898f61902c.squirrel@www.noahpeterson.com.hostbaby.com> Date: Tue, 21 Oct 2014 12:09:43 -0500 Subject: SoCal LoopFest From: "Noah Peterson" To: "Loopers-Delight" Reply-To: noah@noahpeterson.com User-Agent: SquirrelMail/1.4.21 [SVN] MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit X-Priority: 3 (Normal) Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123607 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 21 Oct 2014 17:13:16 +0000 (UTC) The First Annual Southern California LoopFest happens Wed/Thur, 6pm at di DiPiazza's in Long Beach. New acts for this portion of the LoopFest tour! Wed: Sander Wolff, Mike Why, Jeff Kaiser, ANI Amy Lee, Thur: Riz Orkestra, Daniel Park, Zack Walters, Nicholas Chacon, Albert Mathias and the current BOSS Loop Station Champion for the United States, the one and only Paul SuperTall Newman. Can't come? Stream it on concert window! Wed: https://www.concertwindow.com/shows/9570-southern-california-loopfest Thur: https://www.concertwindow.com/shows/9572-southern-california-loopfest FREE show, all ages. www.socalloopfest.com Peterson Entertainment, Llc 999 East Basse Road #180-117 San Antonio, TX 78209 503-703-9516 -- www.noahpeterson.com www.petersonentertainment.com From Loopers-Delight-request@loopers-delight.com Tue Oct 21 21:43:57 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 55C2B183553; Tue, 21 Oct 2014 21:43:57 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 3602 seconds by postgrey-1.34 at arsenic; Tue, 21 Oct 2014 21:43:57 UTC X-Proofpoint-Virus-Version: vendor=fsecure engine=2.50.10432:5.12.52,1.0.28,0.0.0000 definitions=2014-10-21_08:2014-10-21,2014-10-21,1970-01-01 signatures=0 X-Proofpoint-Spam-Details: rule=notspam policy=default score=0 spamscore=0 suspectscore=3 phishscore=0 adultscore=0 bulkscore=0 classifier=spam adjust=0 reason=mlx scancount=1 engine=7.0.1-1408290000 definitions=main-1410210198 Content-type: text/plain; charset=iso-8859-1 MIME-version: 1.0 (Mac OS X Mail 8.0 \(1990.1\)) Subject: echoplex parameters button From: KENN LOWY X-Priority: 3 (Normal) In-reply-to: <56514f0bdbaf5c9f1814af898f61902c.squirrel@www.noahpeterson.com.hostbaby.com> Date: Tue, 21 Oct 2014 16:39:52 -0400 Content-transfer-encoding: quoted-printable Message-id: <8B2504A4-568C-4347-9BC5-E3787542E7EE@icloud.com> References: <56514f0bdbaf5c9f1814af898f61902c.squirrel@www.noahpeterson.com.hostbaby.com> To: Loopers-Delight X-Mailer: Apple Mail (2.1990.1) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123608 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 21 Oct 2014 21:43:57 +0000 (UTC) The parameters button has stopped working on my echoplex. Any = suggestions of things I can try?= From Loopers-Delight-request@loopers-delight.com Wed Oct 22 01:38:07 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 79DC9183558; Wed, 22 Oct 2014 01:38:07 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:date:message-id:subject:from:to:content-type; bh=isSzb/gwUtOy74P2jqqhwJVTdVyFy5QnsaOSug8yuww=; b=bSYbdC5nM7UPI42EHFLJrmihciTwkWVVP9vD4dP1D/uBDi4DyiUvhTjSlA/ibL9Q5G FH+jhG0YqNcnQE7E0HSZB4PU6gL362QgI5tH4yGRnrj6EgFkEJyN2BJyLY5nAV2KtIe2 BsOmmhQ/A7WopWQyzy7mtnNJLEAMnMQKTJH8gVIlKFB3DmWj4x1KrbRx9ojDKIyl9Oyz ADd1Yr0MvkDOY0pHOCB+QiWsXKLVrYW5IpmpIT/Fwt56vu2mYUCvqxIitmlz8ri7MhEF +0DdJ33rMKYOeTA/oWqbFGqxD2ZseyA/TBR5iIa611rcJEJe2Wja6S9Hvob6bASo73JL ZZFw== MIME-Version: 1.0 X-Received: by 10.229.83.134 with SMTP id f6mr50610384qcl.22.1413941678304; Tue, 21 Oct 2014 18:34:38 -0700 (PDT) Date: Tue, 21 Oct 2014 21:34:38 -0400 Message-ID: Subject: Looping prepared piano From: Jim Goodin To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=001a1133c8a077f54d0505f8f3c2 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123609 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 01:38:07 +0000 (UTC) --001a1133c8a077f54d0505f8f3c2 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable I don't know if anyone knows of this fellow, perhaps he's wide known in Europe but this was passed on to me and have found pretty neat what he's doing. Hauschka Live https://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DHYsvlJgtAgY I particularly like the moments of feedback and occasional roomsounds though I was disappointed he never went for the eBow :) Jim --=20 -- *Wood and Wire Ware Mobile *iOS mobile creations of James Goodin and Wood and Wire Ware *The Recordings of Wood and Wire Music* - 'Organically inspired New Music' *From Brooklyn To Glindran *, a new World/Free Jazz recording by Jim Goodin & Peter Th=C3=B6rn. Proceeds f= rom this CD will benefit *JDRF International * --001a1133c8a077f54d0505f8f3c2 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
I don't know if anyone knows of this fellow, perhaps h= e's wide known in Europe but this was passed on to me and have found pr= etty neat what he's doing.

Hauschka Live
<= a href=3D"https://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DH= YsvlJgtAgY">https://www.youtube.com/watch?feature=3Dplayer_embedded&v= =3DHYsvlJgtAgY

I particularly like the moments= of feedback and occasional roomsounds though I was disappointed he never w= ent for the eBow :)

Jim

=
--
--
Woo= d and Wire Ware Mobile=C2=A0iOS mobile creations of James Goodin an= d Wood and Wire Ware

The Recordings of Wood and Wi= re Music=C2=A0- 'Organically inspired New Music'
=C2=A0
From Brooklyn To Glindran, a new World/Free Jazz = recording by Jim Goodin & Peter Th=C3=B6rn.=C2=A0 Proceeds from this CD= will benefit JDRF Intern= ational
--001a1133c8a077f54d0505f8f3c2-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 04:16:58 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 0E6C2183555; Wed, 22 Oct 2014 04:16:57 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 4036 seconds by postgrey-1.34 at arsenic; Wed, 22 Oct 2014 04:16:57 UTC From: Amy X Neuburg Content-Type: multipart/alternative; boundary="Apple-Mail=_758F92BF-1421-471A-9DED-CE1FF8ADA169" Message-Id: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> Mime-Version: 1.0 (Mac OS X Mail 7.3 \(1878.6\)) Subject: Re: Looping prepared piano Date: Tue, 21 Oct 2014 20:06:08 -0700 References: To: Loopers-Delight@loopers-delight.com In-Reply-To: X-Mailer: Apple Mail (2.1878.6) X-ACL-Warn: { X-AntiAbuse: This header was added to track abuse, please include it with any abuse report X-AntiAbuse: Primary Hostname - zosma.lunarpages.com X-AntiAbuse: Original Domain - loopers-delight.com X-AntiAbuse: Originator/Caller UID/GID - [47 12] / [47 12] X-AntiAbuse: Sender Address Domain - isproductions.com X-Source: X-Source-Args: X-Source-Dir: Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123610 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 04:16:57 +0000 (UTC) --Apple-Mail=_758F92BF-1421-471A-9DED-CE1FF8ADA169 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 I shared a gig with him at Great American Music Hall in SF. He brought = in a nice crowd =E2=80=94 seems to have quite a following here. A lovely = warm person, a great set backed up by the MagikMagik Orchestra... though = I found myself wishing he=E2=80=99d do more out-there stuff. On Oct 21, 2014, at 6:34 PM, Jim Goodin = wrote: > I don't know if anyone knows of this fellow, perhaps he's wide known = in Europe but this was passed on to me and have found pretty neat what = he's doing. >=20 > Hauschka Live > https://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DHYsvlJgtAgY >=20 > I particularly like the moments of feedback and occasional roomsounds = though I was disappointed he never went for the eBow :) >=20 > Jim >=20 > --=20 > -- > Wood and Wire Ware Mobile iOS mobile creations of James Goodin and = Wood and Wire Ware >=20 > The Recordings of Wood and Wire Music - 'Organically inspired New = Music' > =20 > =46rom Brooklyn To Glindran, a new World/Free Jazz recording by Jim = Goodin & Peter Th=C3=B6rn. Proceeds from this CD will benefit JDRF = International =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 Amy X Neuburg http://www.amyxneuburg.com =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 --Apple-Mail=_758F92BF-1421-471A-9DED-CE1FF8ADA169 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8 I = shared a gig with him at Great American Music Hall in SF. He brought in = a nice crowd =E2=80=94 seems to have quite a following here. A lovely = warm person, a great set backed up by the MagikMagik Orchestra... though = I found myself wishing he=E2=80=99d do more out-there = stuff.

On Oct 21, 2014, at 6:34 PM, Jim Goodin <jimgoodinmusic@gmail.com> = wrote:

I don't know if anyone knows of this = fellow, perhaps he's wide known in Europe but this was passed on to me = and have found pretty neat what he's doing.

Hauschka = Live

I particularly like the moments = of feedback and occasional roomsounds though I was disappointed he never = went for the eBow :)

Jim

--
--
Wood and Wire Ware Mobile iOS mobile = creations of James Goodin and Wood and Wire = Ware

The = Recordings of Wood and Wire Music - 'Organically inspired = New Music'
 
=46rom= Brooklyn To Glindran, a new World/Free Jazz recording by Jim = Goodin & Peter Th=C3=B6rn.  Proceeds from this CD will benefit = JDRF = International

=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80
Amy X = Neuburg
http://www.amyxneuburg.com
=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80


= --Apple-Mail=_758F92BF-1421-471A-9DED-CE1FF8ADA169-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 14:33:02 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D5C7F183553; Wed, 22 Oct 2014 14:33:02 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=content-type:content-transfer-encoding:from:mime-version:subject :message-id:date:references:in-reply-to:to; bh=Az4hz4vIoW3VHCf9aCyDSvtGEyQcw2pFLJgsFzkp3hI=; b=fHOm/myDvavk72cpdC+teOZFYJcHaKLSBy5HE0s/HkeTUCYJkuc1rrdIbdOeS4miNw sBi6ZF4moYQtixjvHOYkf/cCKFfp+VPiEmYPXqo2mRDtHylFO7oBMzPyb+/dMHBT4kN1 yIg1FmLOrS1cXiXcCz2a/ZEQlG2MzpTJNRwgc4lx3bX60wKczanrDGUO7OiYqdrX2MM6 eTQMY7DWIPr8V4xJQOlOhYniVf+wRHEyrXxGGL2XyxehTiO3R+0U87usmAKkvq2wq5yP nG/pmbVwZa0zOx90hBorURx3IFM+Lldmmsyp+ljIsNaXZACY5LGDqzOoZbB8TTy591hE sIiQ== X-Received: by 10.140.83.7 with SMTP id i7mr29232208qgd.14.1413988171213; Wed, 22 Oct 2014 07:29:31 -0700 (PDT) Content-Type: multipart/alternative; boundary=Apple-Mail-FD23861D-E4F1-477C-8063-35D4CBF5D413 Content-Transfer-Encoding: 7bit From: Jim Goodin Mime-Version: 1.0 (1.0) Subject: Re: Looping prepared piano Message-Id: <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> Date: Wed, 22 Oct 2014 10:21:55 -0400 References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> In-Reply-To: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> To: "Loopers-Delight@loopers-delight.com" X-Mailer: iPhone Mail (12B411) Resent-Message-ID: <_phg1C.A.ThD.eA8RUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123611 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 14:33:02 +0000 (UTC) --Apple-Mail-FD23861D-E4F1-477C-8063-35D4CBF5D413 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable Neat you have crossed circles Amy. I agree and did not comment in detail bu= t I agree he's a bit safe in tonality almost Mannheim Steamroller like and I= 'd like to hear more buzz more feedback more range but what he's doing is st= ill very cool to me. =20 > On Oct 21, 2014, at 11:06 PM, Amy X Neuburg wrote= : >=20 > I shared a gig with him at Great American Music Hall in SF. He brought in a= nice crowd =E2=80=94 seems to have quite a following here. A lovely warm pe= rson, a great set backed up by the MagikMagik Orchestra... though I found my= self wishing he=E2=80=99d do more out-there stuff. >=20 >> On Oct 21, 2014, at 6:34 PM, Jim Goodin wrote:= >>=20 >> I don't know if anyone knows of this fellow, perhaps he's wide known in E= urope but this was passed on to me and have found pretty neat what he's doin= g. >>=20 >> Hauschka Live >> https://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DHYsvlJgtAgY >>=20 >> I particularly like the moments of feedback and occasional roomsounds tho= ugh I was disappointed he never went for the eBow :) >>=20 >> Jim >>=20 >> --=20 >> -- >> Wood and Wire Ware Mobile iOS mobile creations of James Goodin and Wood a= nd Wire Ware >>=20 >> The Recordings of Wood and Wire Music - 'Organically inspired New Music' >> =20 >> =46rom Brooklyn To Glindran, a new World/Free Jazz recording by Jim Goodi= n & Peter Th=C3=B6rn. Proceeds from this CD will benefit JDRF International= >=20 > =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 > Amy X Neuburg > http://www.amyxneuburg.com > =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 >=20 >=20 --Apple-Mail-FD23861D-E4F1-477C-8063-35D4CBF5D413 Content-Type: text/html; charset=utf-8 Content-Transfer-Encoding: quoted-printable
Neat you have crossed circles Amy. &nb= sp;I agree and did not comment in detail but I agree he's a bit safe in tona= lity almost Mannheim Steamroller like and I'd like to hear more buzz more fe= edback more range but what he's doing is still very cool to me.  


On Oct 21, 2014, at 11:06 PM, Amy X Neuburg <amyx@isproductions.com> wrote:
=
I shared a gig with him at Great Americ= an Music Hall in SF. He brought in a nice crowd =E2=80=94 seems to have quit= e a following here. A lovely warm person, a great set backed up by the Magik= Magik Orchestra... though I found myself wishing he=E2=80=99d do more out-th= ere stuff.

On Oct 21, 2014, at 6:34 PM, Jim Goodin <jimgoodinmusic@gmail.com> wro= te:

<= div dir=3D"ltr">I don't know if anyone knows of this fellow, perhaps he's wi= de known in Europe but this was passed on to me and have found pretty neat w= hat he's doing.

Hauschka Live
https= ://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DHYsvlJgtAgY

I particularly like the moments of feedback and occa= sional roomsounds though I was disappointed he never went for the eBow :)

Jim

--
--
Wood and Wire Ware Mobile=  iOS mobile creations of James Goodin and Wood and Wire Ware

The Recordings of Wood and Wire Music - 'Or= ganically inspired New Music'
 
=46rom Brooklyn To G= lindran, a new World/Free Jazz recording by Jim Goodin & Peter T= h=C3=B6rn.  Proceeds from this CD will benefit JDRF International

=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80
Amy X Neuburg
http://www.amyxneuburg.com
=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80


= --Apple-Mail-FD23861D-E4F1-477C-8063-35D4CBF5D413-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 14:44:39 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 5824518354B; Wed, 22 Oct 2014 14:44:39 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:thread-index:content-language; bh=LqUHVKoe0bKwCMQ4ZsPxmT1bd4ZZQh43ZQK1KraEX3E=; b=kx3vc2L+AOvx9nE6wRpddFOmOrdLuYY6GH8ds9SJFlpMtnPQCPY+wnSw7G8ML1QV5b mv1DUfcBmkVkR29aOT2CnJeUVWKD3HXMF9cuuh3DovCMSZzNo/5IwuE5v4wyrgzkapuc HB2BB73PiMSC215AWUs4G0yrWDc28eli0cSi8j9xP/impISPBl8goHzA4RiJH3YcSLa/ +Lri5IzE9kIXj35FtaMJC5gHco4hPUh36GpliCFIV9vptWMlS/dXvZsPIfzpe329WcrX sbHksh/uwi0HjZ4jJm3blI+cbhlRP8wqu2DsrmXTK8GJN3ZifMFyc8vaEn8bpa4gDE7b PFyQ== X-Received: by 10.68.162.161 with SMTP id yb1mr42392301pbb.53.1413988868943; Wed, 22 Oct 2014 07:41:08 -0700 (PDT) From: "Diarmuid Pigott" To: References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> In-Reply-To: <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> Subject: RE: Looping prepared piano Date: Wed, 22 Oct 2014 22:41:02 +0800 Message-ID: <009e01cfee06$372cefa0$a586cee0$@gmail.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_009F_01CFEE49.4555ADE0" X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQMgFy7vek6XzIub6SlG3339QiwhvwNo5NvJAdavrPiZceE60A== Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123612 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 14:44:39 +0000 (UTC) This is a multipart message in MIME format. ------=_NextPart_000_009F_01CFEE49.4555ADE0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable Bill Bruford used to call it =E2=80=9Ca drummer=E2=80=99s = harmony=E2=80=9D=20 =20 From: Jim Goodin [mailto:jimgoodinmusic@gmail.com]=20 Sent: Wednesday, 22 October 2014 10:22 PM To: Loopers-Delight@loopers-delight.com Subject: Re: Looping prepared piano =20 Neat you have crossed circles Amy. I agree and did not comment in = detail but I agree he's a bit safe in tonality almost Mannheim = Steamroller like and I'd like to hear more buzz more feedback more range = but what he's doing is still very cool to me. =20 On Oct 21, 2014, at 11:06 PM, Amy X Neuburg > wrote: I shared a gig with him at Great American Music Hall in SF. He brought = in a nice crowd =E2=80=94 seems to have quite a following here. A lovely = warm person, a great set backed up by the MagikMagik Orchestra... though = I found myself wishing he=E2=80=99d do more out-there stuff. =20 On Oct 21, 2014, at 6:34 PM, Jim Goodin > wrote: I don't know if anyone knows of this fellow, perhaps he's wide known in = Europe but this was passed on to me and have found pretty neat what he's = doing. =20 Hauschka Live https://www.youtube.com/watch?feature=3Dplayer_embedded = = &v=3DHYsvlJgtAgY =20 I particularly like the moments of feedback and occasional roomsounds = though I was disappointed he never went for the eBow :) =20 Jim =20 --=20 -- Wood and Wire Ware Mobile = iOS = mobile creations of James Goodin and Wood and Wire Ware =20 The Recordings of Wood and Wire = Music - 'Organically inspired New Music' =20 >From Brooklyn To Glindran , a = new World/Free Jazz recording by Jim Goodin & Peter Th=C3=B6rn. = Proceeds from this CD will benefit JDRF International = =20 =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 Amy X Neuburg http://www.amyxneuburg.com =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 =20 ------=_NextPart_000_009F_01CFEE49.4555ADE0 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable

Bill Bruford used to call it =E2=80=9Ca = drummer=E2=80=99s harmony=E2=80=9D

 

From: Jim = Goodin [mailto:jimgoodinmusic@gmail.com]
Sent: Wednesday, 22 = October 2014 10:22 PM
To: = Loopers-Delight@loopers-delight.com
Subject: Re: Looping = prepared piano

 

Neat you have crossed circles Amy. =  I agree and did not comment in detail but I agree he's a bit safe = in tonality almost Mannheim Steamroller like and I'd like to hear more = buzz more feedback more range but what he's doing is still very cool to = me.  


On Oct 21, 2014, at 11:06 PM, Amy X = Neuburg <amyx@isproductions.com> = wrote:

I shared a gig with him at Great American Music Hall = in SF. He brought in a nice crowd =E2=80=94 seems to have quite a = following here. A lovely warm person, a great set backed up by the = MagikMagik Orchestra... though I found myself wishing he=E2=80=99d do = more out-there stuff.

 

On = Oct 21, 2014, at 6:34 PM, Jim Goodin <jimgoodinmusic@gmail.com>= wrote:



I don't know if anyone knows of this fellow, perhaps = he's wide known in Europe but this was passed on to me and have found = pretty neat what he's doing.

 

Hauschka Live

 

I = particularly like the moments of feedback and occasional roomsounds = though I was disappointed he never went for the eBow = :)

 

Jim

 

-- =

--

Wood and Wire Ware Mobile iOS mobile = creations of James Goodin and Wood and Wire = Ware

 

The Recordings of Wood and Wire = Music - 'Organically inspired New = Music'

 

From = Brooklyn To Glindran, a new World/Free Jazz recording by Jim = Goodin & Peter Th=C3=B6rn.  Proceeds from this CD will benefit = JDRF = International

 

=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF= =80=CF=80
Amy X Neuburg
http://www.amyxneuburg.com
=CF= =80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80

 

------=_NextPart_000_009F_01CFEE49.4555ADE0-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 15:37:29 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A1B3D18355A; Wed, 22 Oct 2014 15:37:29 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [c+S/ZGiQ0ASVTanCIa4+crHyc05yB5Xq] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_28378a4b-1cc5-4ed7-86ae-e78dde9c5e2a_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Another archival piece but not as old Date: Wed, 22 Oct 2014 15:33:59 +0000 Importance: Normal In-Reply-To: <009e01cfee06$372cefa0$a586cee0$@gmail.com> References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com> MIME-Version: 1.0 X-OriginalArrivalTime: 22 Oct 2014 15:34:00.0261 (UTC) FILETIME=[99FE7750:01CFEE0D] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123613 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 15:37:29 +0000 (UTC) --_28378a4b-1cc5-4ed7-86ae-e78dde9c5e2a_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Here is Brian May (yes) demonstrating two part close delay looping. The fir= st demo is very Queen-y and he explains why an dhow. He even makes a tonal = mistake (the thing that Michael Peters name-check Fripp on in his intro pie= ce)=2C but he recovers and admits to it. Then he does something interesting - someone in the audience asks if it wor= ks without distortion - essentially I suppose "can you play that way and no= t be Queen-y" and he does=2C and he plays a lovely short piece of close-loo= ping which sounds nothing so much as the wonderful bit from Fish Rising by = Hillage which is almost the archetypal close-looping - I don't thing anyone= did it better. Anyway=2C May close looping in a Guitarist demohttps://www.youtube.com/watc= h?v=3DHs87GuoOvYo#t=3D33 = --_28378a4b-1cc5-4ed7-86ae-e78dde9c5e2a_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Here is Brian May (yes) demonstr= ating two part close delay looping. The first demo is very Queen-y and he e= xplains why an dhow. He even makes a tonal mistake (the thing that Michael = Peters name-check Fripp on in his intro piece)=2C but he recovers  =3Ba= nd admits to it.

Then he does something interesting - someone= in the audience asks if it works without distortion - essentially I suppos= e "can you play that way and not be Queen-y" and he does=2C and he plays a = lovely short piece of close-looping which sounds nothing so much as the won= derful bit from Fish Rising by Hillage which is almost the archetypal close= -looping - I don't thing anyone did it better.

Any= way=2C May close looping in a Guitarist demo
= --_28378a4b-1cc5-4ed7-86ae-e78dde9c5e2a_-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 15:42:36 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 6BDB218355A; Wed, 22 Oct 2014 15:42:36 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [zFfB88imhcnyDKqLNA297SZqTcy6O6xs] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_b35d6be2-9837-4f41-b1df-0e64a4c16b6f_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: And another explanatory quasi-historical piece Date: Wed, 22 Oct 2014 15:39:01 +0000 Importance: Normal In-Reply-To: References: ,<3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com>,<672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com>, MIME-Version: 1.0 X-OriginalArrivalTime: 22 Oct 2014 15:39:01.0832 (UTC) FILETIME=[4DBE8C80:01CFEE0E] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123614 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 15:42:36 +0000 (UTC) --_b35d6be2-9837-4f41-b1df-0e64a4c16b6f_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable This one Henry Kaiser - he shows his non-loop-looping style whi= ch I love and have tried to follow (he has an ear for the perfect dissonant= I lack). He does it old school with the digitals (yes=2C old school being a digital = rack - temp. fug.) and then on his boat with a laptop and the wonderful emu= lation that PSP Audioware made (and I have used on occasion with an old lap= py to fiddle with this approach) https://www.youtube.com/watch?v=3DgbJFlX_L6To 6969 views on youtube=2C I think I make account for 1000 of them. ig = --_b35d6be2-9837-4f41-b1df-0e64a4c16b6f_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
= This one Henry Kaiser - he shows his non-loop-looping style which I love = and have tried to follow (he has an ear for the perfect dissonant I lack).<= /div>

He does it old schoo= l with the digitals (yes=2C old school being a digital rack - temp. fug.) a= nd then on his boat with a laptop and the wonderful emulation that PSP Audi= oware made (and I have used on occasion with an old lappy to fiddle with th= is approach)


6969 views on youtube=2C I think I make account for 1000 of the= m.

ig
= --_b35d6be2-9837-4f41-b1df-0e64a4c16b6f_-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 16:12:44 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id EECA418355A; Wed, 22 Oct 2014 16:12:43 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Authority-Analysis: v=2.1 cv=LPHoQfm9 c=1 sm=1 tr=0 a=NXWg/mbnblgifp8ls2g00g==:117 a=NXWg/mbnblgifp8ls2g00g==:17 a=hOpmn2quAAAA:8 a=yUnIBFQkZM0A:10 a=8nJEP1OIZ-IA:10 a=69EAbJreAAAA:8 a=BE7_YfK7AAAA:20 a=Ndym7m42XvZXa1o-re4A:9 a=wPNLvfGTeEIA:10 a=voZrjb6_8qcA:10 a=EfJqPEOeqlMA:10 Content-Type: text/plain; charset=iso-8859-1 Mime-Version: 1.0 (Mac OS X Mail 6.6 \(1510\)) Subject: Re: And another explanatory quasi-historical piece From: Ted Killian In-Reply-To: Date: Wed, 22 Oct 2014 09:09:11 -0700 Content-Transfer-Encoding: quoted-printable Message-Id: <4F628FD0-69C2-408B-96F5-473739E4C11F@charter.net> References: ,<3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com>,<672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com>, To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.1510) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123615 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 16:12:43 +0000 (UTC) Nice. I think he did a similar demo earlier without some of the detailed = explanation. On Oct 22, 2014, at 8:39 AM, Ivodne Galatea wrote: > This one Henry Kaiser - he shows his non-loop-looping style which I = love and have tried to follow (he has an ear for the perfect dissonant I = lack). >=20 > He does it old school with the digitals (yes, old school being a = digital rack - temp. fug.) and then on his boat with a laptop and the = wonderful emulation that PSP Audioware made (and I have used on occasion = with an old lappy to fiddle with this approach) >=20 > https://www.youtube.com/watch?v=3DgbJFlX_L6To >=20 > 6969 views on youtube, I think I make account for 1000 of them. >=20 > ig From Loopers-Delight-request@loopers-delight.com Wed Oct 22 16:25:59 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 254DD18355C; Wed, 22 Oct 2014 16:25:59 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=KjxKrHzDv/Ou7qfNr5fb0w/8rfThps6u+ipnmWCXvR8=; b=GmUBq3QpycWKS9LPihmukljwMnwmtDAX1165Cq8Jc6Y6uMT0e1/5ZhpPu1dnI7zB2y vflOZdr5lydn5XaZ5eaKWUB27XBm12r3DVP6SzQnktvQGW0Bg7CEUs16WOoH6CrTudEr KWSetAQ6PAYOifdW6JJkZK7Hmpi0Cl2uo9YQpirOcsMcSl8fOPEU9B7kJX/fUAjpn4V3 Ox7s4o8Ji1ALDVbu2ODYLs72HcFejGQyTPixyw9O6CiMTob1Q/hHKCwhofAs6/votJeV TrNORAXpq4EjCS75TIIYgvAMdQv7c7Xhx+RDjgtRV6lQADVgUlUjW4BJDv/pxhquPC+S FQNQ== MIME-Version: 1.0 X-Received: by 10.194.109.226 with SMTP id hv2mr52243348wjb.45.1413994948376; Wed, 22 Oct 2014 09:22:28 -0700 (PDT) In-Reply-To: References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> <009e01cfee06$372cefa0$a586cee0$@gmail.com> Date: Wed, 22 Oct 2014 12:22:28 -0400 Message-ID: Subject: Re: Another archival piece but not as old From: Jeff Duke To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=089e0102fc4c9ccc410506055a0e Resent-Message-ID: <416tYC.A.orE.Xq9RUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123616 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 16:25:59 +0000 (UTC) --089e0102fc4c9ccc410506055a0e Content-Type: text/plain; charset=UTF-8 I have always loved delay based stuff like this. Here is an old one of mine using a DL-4 for the short bouncy stuff with a DD 20 set at about one bar from that. A EH 2880 captures the initial chunky bit that continues until close to the end. https://vimeo.com/2349716 On Wed, Oct 22, 2014 at 11:33 AM, Ivodne Galatea wrote: > Here is Brian May (yes) demonstrating two part close delay looping. The > first demo is very Queen-y and he explains why an dhow. He even makes a > tonal mistake (the thing that Michael Peters name-check Fripp on in his > intro piece), but he recovers and admits to it. > > Then he does something interesting - someone in the audience asks if it > works without distortion - essentially I suppose "can you play that way and > not be Queen-y" and he does, and he plays a lovely short piece of > close-looping which sounds nothing so much as the wonderful bit from Fish > Rising by Hillage which is almost the archetypal close-looping - I don't > thing anyone did it better. > > Anyway, May close looping in a Guitarist demo > https://www.youtube.com/watch?v=Hs87GuoOvYo#t=33 > --089e0102fc4c9ccc410506055a0e Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
I have always loved delay based stuff like this. Here is a= n old one of mine using a DL-4 for the short bouncy stuff with a DD 20 set = at about one bar from that. A EH 2880 captures the initial chunky bit that = continues until close to the end. htt= ps://vimeo.com/2349716

On Wed, Oct 22, 2014 at 11:33 AM, Ivodne Galatea <taka= s20@hotmail.com> wrote:
Here is Brian May (yes) demonstrating two part close = delay looping. The first demo is very Queen-y and he explains why an dhow. = He even makes a tonal mistake (the thing that Michael Peters name-check Fri= pp on in his intro piece), but he recovers =C2=A0and admits to it.

=
Then he does something interesting - someone in the audience ask= s if it works without distortion - essentially I suppose "can you play= that way and not be Queen-y" and he does, and he plays a lovely short= piece of close-looping which sounds nothing so much as the wonderful bit f= rom Fish Rising by Hillage which is almost the archetypal close-looping - I= don't thing anyone did it better.

Anyway, May= close looping in a Guitarist demo

--089e0102fc4c9ccc410506055a0e-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 16:26:09 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A002018355F; Wed, 22 Oct 2014 16:26:09 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 309 seconds by postgrey-1.34 at arsenic; Wed, 22 Oct 2014 16:26:09 UTC From: Christoph Lehmann Mime-Version: 1.0 (Apple Message framework v1283) Content-Type: multipart/alternative; boundary="Apple-Mail=_6DA76360-13B2-47D2-8EDA-672EEFCA198A" Subject: Re: Looping prepared piano Date: Wed, 22 Oct 2014 18:17:17 +0200 In-Reply-To: <009e01cfee06$372cefa0$a586cee0$@gmail.com> To: Loopers-Delight@loopers-delight.com References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> <009e01cfee06$372cefa0$a586cee0$@gmail.com> Message-Id: <1FC880B0-CD15-4F09-B79F-8F2A619F28BB@gmx.de> X-Mailer: Apple Mail (2.1283) X-Provags-ID: V03:K0:OacoDuuCEcG+SSDDbcTMHdgKd1sVxemGOAToI/9V5kQLz/cGer1 5ru2ebE1bZkdBaXNUuNcHFJYHDmRqOyweE/7iZdbb8tvtcAh/zl9AGwMncWIMI/cErv0Roa bykLX4IDcDX1I+3G0HWtKznHL0TAfbWIhpdztagboUdgV0NHgCzYbwLL0uw1ynJQ7GXRlO0 Ie8B8Tnb/CJEU+d3mwUqQ== X-UI-Out-Filterresults: notjunk:1; Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123617 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 16:26:09 +0000 (UTC) --Apple-Mail=_6DA76360-13B2-47D2-8EDA-672EEFCA198A Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=utf-8 I saw him two weeks ago at Denovali Swingfest (highly recommended = festival: http://denovali.com/swingfest/). At this particular gig he started using a lot of feedback! I really was = disappointed in the beginning because it was too much and too noisy in = my opinion. But throughout the gig he slowly reduced the amount of = feedback and gadgets planted into his piano until, at the very end, he = only ad the original sound of the piano. This transformation of sound = made it a very interesting gig!=20 -Chris On 22.10.2014, at 16:41, Diarmuid Pigott wrote: > Bill Bruford used to call it =E2=80=9Ca drummer=E2=80=99s harmony=E2=80=9D= > =20 > From: Jim Goodin [mailto:jimgoodinmusic@gmail.com]=20 > Sent: Wednesday, 22 October 2014 10:22 PM > To: Loopers-Delight@loopers-delight.com > Subject: Re: Looping prepared piano > =20 > Neat you have crossed circles Amy. I agree and did not comment in = detail but I agree he's a bit safe in tonality almost Mannheim = Steamroller like and I'd like to hear more buzz more feedback more range = but what he's doing is still very cool to me. =20 >=20 >=20 >=20 > On Oct 21, 2014, at 11:06 PM, Amy X Neuburg = wrote: >=20 > I shared a gig with him at Great American Music Hall in SF. He brought = in a nice crowd =E2=80=94 seems to have quite a following here. A lovely = warm person, a great set backed up by the MagikMagik Orchestra... though = I found myself wishing he=E2=80=99d do more out-there stuff. > =20 > On Oct 21, 2014, at 6:34 PM, Jim Goodin = wrote: >=20 >=20 > I don't know if anyone knows of this fellow, perhaps he's wide known = in Europe but this was passed on to me and have found pretty neat what = he's doing. > =20 > Hauschka Live > https://www.youtube.com/watch?feature=3Dplayer_embedded&v=3DHYsvlJgtAgY > =20 > I particularly like the moments of feedback and occasional roomsounds = though I was disappointed he never went for the eBow :) > =20 > Jim > =20 > -- > -- > Wood and Wire Ware Mobile iOS mobile creations of James Goodin and = Wood and Wire Ware > =20 > The Recordings of Wood and Wire Music - 'Organically inspired New = Music' > =20 > =46rom Brooklyn To Glindran, a new World/Free Jazz recording by Jim = Goodin & Peter Th=C3=B6rn. Proceeds from this CD will benefit JDRF = International > =20 > =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 > Amy X Neuburg > http://www.amyxneuburg.com > =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80 >=20 --Apple-Mail=_6DA76360-13B2-47D2-8EDA-672EEFCA198A Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=utf-8
I  saw him two weeks ago at Denovali = Swingfest (highly recommended festival: http://denovali.com/swingfest/= ).

At this particular gig he started using a = lot of feedback! I really was disappointed in the beginning because it = was too much and too noisy in my opinion. But throughout the gig he = slowly reduced the amount of feedback and gadgets planted into his piano = until, at the very end, he only ad the original sound of the piano. This = transformation of sound made it a very interesting = gig! 

-Chris



On 22.10.2014, at 16:41, Diarmuid Pigott = wrote:

Bill = Bruford used to call it =E2=80=9Ca drummer=E2=80=99s = harmony=E2=80=9D
From: Jim Goodin = [mailto:jimgoodinmusic@gmail.com] 
Sent: Wednesday, 22 October 2014 = 10:22 PM
To: Loopers-Delight@looper= s-delight.com
Subject: Re: Looping prepared = piano
Neat you have = crossed circles Amy.  I agree and did not comment in detail but I = agree he's a bit safe in tonality almost Mannheim Steamroller like and = I'd like to hear more buzz more feedback more range but what he's doing = is still very cool to me.  


On Oct 21, 2014, at 11:06 PM, Amy X = Neuburg <amyx@isproductions.com> = wrote:

I shared a gig with him at = Great American Music Hall in SF. He brought in a nice crowd =E2=80=94 = seems to have quite a following here. A lovely warm person, a great set = backed up by the MagikMagik Orchestra... though I found myself wishing = he=E2=80=99d do more out-there stuff.
 
On Oct 21, 2014, at 6:34 PM, Jim Goodin <jimgoodinmusic@gmail.com> = wrote:
I don't know if anyone knows of = this fellow, perhaps he's wide known in Europe but this was passed on to = me and have found pretty neat what he's doing.
 
Hauschka Live
=46rom Brooklyn To = Glindran, a new World/Free Jazz recording by Jim Goodin & = Peter Th=C3=B6rn.  Proceeds from this CD will benefit JDRF = International
 

=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80= =CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80=CF=80
Amy X = Neuburg
To: "Loopers-Delight@loopers-delight.com" Subject: RE: Another archival piece but not as old Date: Wed, 22 Oct 2014 16:32:03 +0000 Importance: Normal In-Reply-To: References: ,<3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com>,<672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com>,, MIME-Version: 1.0 X-OriginalArrivalTime: 22 Oct 2014 16:32:04.0295 (UTC) FILETIME=[B6A3DD70:01CFEE15] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123618 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 16:35:34 +0000 (UTC) --_189979c3-ed71-4276-bd0e-e10f4a805bfa_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Must have been a nice Florida day=2C that one Date: Wed=2C 22 Oct 2014 12:22:28 -0400 Subject: Re: Another archival piece but not as old From: jeffloops@gmail.com To: Loopers-Delight@loopers-delight.com I have always loved delay based stuff like this. Here is an old one of mine= using a DL-4 for the short bouncy stuff with a DD 20 set at about one bar = from that. A EH 2880 captures the initial chunky bit that continues until c= lose to the end. https://vimeo.com/2349716 On Wed=2C Oct 22=2C 2014 at 11:33 AM=2C Ivodne Galatea wrote: =0A= =0A= =0A= Here is Brian May (yes) demonstrating two part close delay looping. The fir= st demo is very Queen-y and he explains why an dhow. He even makes a tonal = mistake (the thing that Michael Peters name-check Fripp on in his intro pie= ce)=2C but he recovers and admits to it. Then he does something interesting - someone in the audience asks if it wor= ks without distortion - essentially I suppose "can you play that way and no= t be Queen-y" and he does=2C and he plays a lovely short piece of close-loo= ping which sounds nothing so much as the wonderful bit from Fish Rising by = Hillage which is almost the archetypal close-looping - I don't thing anyone= did it better. Anyway=2C May close looping in a Guitarist demohttps://www.youtube.com/watc= h?v=3DHs87GuoOvYo#t=3D33 =0A= = --_189979c3-ed71-4276-bd0e-e10f4a805bfa_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

Must have been a nice Florida da= y=2C that one


Date: Wed=2C 22 Oct 2014 = 12:22:28 -0400
Subject: Re: Another archival piece but not as old
Fro= m: jeffloops@gmail.com
To: Loopers-Delight@loopers-delight.com

I have always loved delay based stuff like this. Here is an = old one of mine using a DL-4 for the short bouncy stuff with a DD 20 set at= about one bar from that. A EH 2880 captures the initial chunky bit that co= ntinues until close to the end.
https://vimeo.com/2349716

On Wed=2C Oct 22=2C 2014 at 11:33 A= M=2C Ivodne Galatea <=3Btakas20@hotmail.com>=3B wrote:
=0A= =0A= =0A=
Here is Brian May (yes) demonstrating two part close = delay looping. The first demo is very Queen-y and he explains why an dhow. = He even makes a tonal mistake (the thing that Michael Peters name-check Fri= pp on in his intro piece)=2C but he recovers  =3Band admits to it.
=
Then he does something interesting - someone in the audience= asks if it works without distortion - essentially I suppose "can you play = that way and not be Queen-y" and he does=2C and he plays a lovely short pie= ce of close-looping which sounds nothing so much as the wonderful bit from = Fish Rising by Hillage which is almost the archetypal close-looping - I don= 't thing anyone did it better.

Anyway=2C May close= looping in a Guitarist demo
=0A=

= --_189979c3-ed71-4276-bd0e-e10f4a805bfa_-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 16:54:30 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id C8C9A183559; Wed, 22 Oct 2014 16:54:30 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=veYaz+uQTwPwCWCO8CsHSWznjILxm1h2K45GWSQxDGw=; b=HhG23URD8nzC5TI6hAQbr56Z29EbOO1tsWC4//vD+A3gCN31r65B5Ys1mYOTsntRbc 8JKd73e5KtJLvYRMbOIA+7yfQhnoPusAGSsRK/370H6Bu2gt2iTillEHPnjnIDL8L/Oi PcVXvgzWGEthLMsRnO4xx3bE/BvP1Vjuw3u+dqKmq3pr53RoxgXDXfN7qIPCrPYLVsO6 bE8IKTSmCW5gQY7/uIbcElBXM0EZHYedfV1Exdl0oA7mszr5WzKZeobw0oK29PLD5DXa 2tNrN2qVEb3tL7g7i15NyZBVhI8Rdjryzf8UHl1fItvt6DiIj4veMcq37HWgeVPUvFTb 01Qg== MIME-Version: 1.0 X-Received: by 10.180.90.237 with SMTP id bz13mr39556093wib.50.1413996659545; Wed, 22 Oct 2014 09:50:59 -0700 (PDT) In-Reply-To: References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> <009e01cfee06$372cefa0$a586cee0$@gmail.com> Date: Wed, 22 Oct 2014 12:50:59 -0400 Message-ID: Subject: Re: Another archival piece but not as old From: Jeff Duke To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=f46d043c095e9b1c87050605c067 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123619 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 16:54:30 +0000 (UTC) --f46d043c095e9b1c87050605c067 Content-Type: text/plain; charset=UTF-8 Thank you, it was indeed! :) On Wed, Oct 22, 2014 at 12:32 PM, Ivodne Galatea wrote: > Must have been a nice Florida day, that one > > ------------------------------ > initial chunky bit that continues until close to the end. > https://vimeo.com/2349716 > > On Wed, Oct 22, 2014 at 11:33 AM, Ivodne Galatea > wrote: > > Here is Brian May (yes) > > snip > --f46d043c095e9b1c87050605c067 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
Thank you, it was indeed! :)

On Wed, Oct 22, 2014 at 12:32 PM, Ivod= ne Galatea <takas20@hotmail.com> wrote:
Must have been a nice Florida day, that one


=C2=A0initial chunky bit that continues until close to the end. https://vimeo.com/23497= 16

On Wed, Oct 22, 2014 at 11:33= AM, Ivodne Galatea <takas20@hotmail.com> wrote:
Here is Brian May (yes)
=
snip

--f46d043c095e9b1c87050605c067-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 17:44:21 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 666A2183553; Wed, 22 Oct 2014 17:44:21 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=bLsFmjoihDtjbUhSvcuqflLdswzZFFlKgyB7rJ8ISVA=; b=CJ2XwmtyHUf3DZYBoYjj/lUhUjajRmvcwUSl+A3s00orPx21y2hKB0x3+yKzUsLnki T05lqfw6fPopekWzeAbNr9JVFPZw9fxeOajwRF9v3FjRUzc94DqEKDx/ukqInVVyRLCd Bj4Mu+1JwKfJbPHI4Nx662+3QW2YYYpILiyK14VaIM1fWbviEFZgGqbsAVdDQm2EyXRC hBdtK6dNRZ/SP1WC5GZmIlI487UIz5nOcreIoWFaP3SJerRGAp43YHvTYlU6LRsV4d+H Sy4z6XjIjjzHbIbWHn+qyHkou8oyFk4HVZc4kyuxay+lHhUsVCjDOCiNoo4/cVn0u3oU rJlQ== MIME-Version: 1.0 X-Received: by 10.60.48.4 with SMTP id h4mr15931210oen.42.1413999651315; Wed, 22 Oct 2014 10:40:51 -0700 (PDT) In-Reply-To: References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com> <009e01cfee06$372cefa0$a586cee0$@gmail.com> Date: Wed, 22 Oct 2014 09:40:51 -0800 Message-ID: Subject: Re: Another archival piece but not as old From: Dennis Moser To: loopers-delight Content-Type: multipart/alternative; boundary=001a1134c732ede488050606723b Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123620 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 17:44:21 +0000 (UTC) --001a1134c732ede488050606723b Content-Type: text/plain; charset=UTF-8 And in the Brian May vein (hadn't heard that one), from a while back ... two Lexicon Vortexs, an A/B switch, a cheapo Fender Squire: https://myspace.com/usrsbin/music/song/track-03-26837009-26638194 Ta! http://soundcloud.com/usrsbin http://audiozoloft.com http://usrslashsbin.angrek.com/ On Wed, Oct 22, 2014 at 8:50 AM, Jeff Duke wrote: > Thank you, it was indeed! :) > > On Wed, Oct 22, 2014 at 12:32 PM, Ivodne Galatea > wrote: > >> Must have been a nice Florida day, that one >> >> ------------------------------ >> initial chunky bit that continues until close to the end. >> https://vimeo.com/2349716 >> >> On Wed, Oct 22, 2014 at 11:33 AM, Ivodne Galatea >> wrote: >> >> Here is Brian May (yes) >> >> snip >> > > --001a1134c732ede488050606723b Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
And in the Brian May vein (hadn't heard that one), fro= m a while back ... two Lexicon Vortexs, an A/B switch, a cheapo Fender Squi= re:


Ta!


On Wed, Oct 22, 2014 at 8:50 AM, Jeff Duke <= span dir=3D"ltr"><jeffloops@gmail.com> wrote:
Thank you, it was indeed! :)

On Wed, Oct 22, 2= 014 at 12:32 PM, Ivodne Galatea <takas20@hotmail.com> wrot= e:
Must have been a nice Florida day, t= hat one


=C2=A0initial chunky bit th= at continues until close to the end. https://vimeo.com/2349716
=

On Wed, Oct 22, 2014 at 11:33 AM, Ivodn= e Galatea <takas20@hotmail.com> wrote:
Here is Brian May (yes)
=
snip


--001a1134c732ede488050606723b-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 19:33:20 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 4F15018355E; Wed, 22 Oct 2014 19:33:20 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=yahoo.com; s=s2048; t=1414006190; bh=UnodBX/GBsWuLZLwVtYyrODiuOr73JF/3BPnqo8Lc7M=; h=From:Subject:Date:References:To:In-Reply-To:From:Subject; b=OzM3kC2jbt6/bgA8N/r4pC3Cqp0z3jknXUe80qbwoP3R15Tx/wEG7O280KA8TGn5W9UcYU+MxYFkY7buumF/YdRVDaB3BU+/cf/25jeVEWoQLKvXzNWkj2+J+eh3KOKb2WhxbIzMESJprP7poNaJB8jf0z75eE5HA2JMTwhvB0u20ZZO/gxCLJkakjgxHX/1AkUq/xDLt62hdfocfj2YaPMtnI1caAKs3KNJSHjV6IPbipy0nfnWEkRfdVBLoM2Su5lJeteuoeGBkTm6PD0DfJbu2S9d47AzzPV3Is6IwHt5+8vmza3eroSYNU6K+jEu9tOFh5OMPO+s+muPONZD/g== DomainKey-Signature: a=rsa-sha1; q=dns; c=nofws; s=s2048; d=yahoo.com; b=YIMJOPAzOyw0zQeVbJUV4uc9IsfJEzLeReAjCWdbzVkfAmJJN3/xSkFvKi4zKAyRX4Vh1dJeYejdK3CYwz2njD3EuUP+SfclhsoLGZMsJRAkAU3xrfAch5RG1Y+uOY+ibT8WGgjD1nVka7ADk/nTxLb2b9Z/DeK92ibXSwZkVJML4f0ci0Yh+fPNts30S86+uHEl9M0sauQyZrJTtNNjp/T/C0L8K2f8lRYDTIAmt9s0oo0syVbiRNsgr2O5EZWDCkCB3KbljOfXz/6fN41Ol6cDdIXjVVcLpjWvcG9kRhM8LKRXwrZhhdYUM+4GTTWO9cb2j22gypd7wJkHKvnV3Q==; DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=yahoo.com; s=s1024; t=1414006190; bh=UnodBX/GBsWuLZLwVtYyrODiuOr73JF/3BPnqo8Lc7M=; h=X-Yahoo-Newman-Id:X-Yahoo-Newman-Property:X-YMail-OSG:X-Yahoo-SMTP:From:Content-Type:Message-Id:Mime-Version:Subject:Date:References:To:In-Reply-To:X-Mailer; b=q1+nGtdNJfLn6qUDGHEay8DPdjC5nGWVVFLaKShZ0Q/avYO4q7IuFM01Lch00doTxszEWSC9pHRJiGZwLPZhF8+aVIW/C8ve9CL+9a8tCEZYhE97tqy8VLjH3l7Gfm2fmWTV8hk0nHZBamRPRS26qRnUmurHyhTlvmhUhdePg1w= X-Yahoo-Newman-Id: 219111.15335.bm@smtp222.mail.ne1.yahoo.com X-Yahoo-Newman-Property: ymail-3 X-YMail-OSG: gBnu77cVM1koLPssPPIeo3FE5p0BRMMlboltPGzQSbk.bu2 szWjE3M0djrvZNr7Jsgmp35F0563pKCUyarPZAHQIKRafQeVoEpyRB8ufxlW XXhUhRxU685bTvW_pYMZNibu_1jdJWW_fvdLiOa_RMLB8qZ6l0sPKbw9dvXN zpswf.Lt99SOOGciyRtF2dYl5sSOpaCRtQQQFhBniIwtJ5rKJ622W63abOTN 5WDt2HXtUkdcI88ZcXCLFlWP_a5WxBgLuV7HlZBqh2dh18oR9tHqinN5AZL4 WLXZK1iMIxA485V3Cjc.RnAC5Lr0U9r0zLTavFwq6GjVAVUsAdzDQmmOGPRQ JHkffokzULY6NBMJufiORKMLmonjugrzIrQQqGMTQZInwaBjoUeAFJmQIdnw 5V1jFnRHuQNoLHREbppGpH7rgOoLFH8eFwliAz.mmfQ8lEiCYXObRIrvxDv0 iZIGZUpr3U.1UVqXYVhD9W_inlR2ZuVpZGoxQUl_cHkwtZkG8cTXNmkH2PoP E2qGc7Z0579ydWfLSQtwRqhj9ownghwBAXM4C X-Yahoo-SMTP: yJM3I9GswBB7cjxzHkr3Wsvn49DbqJgEqw-- From: Neal Trembath Content-Type: multipart/alternative; boundary="Apple-Mail=_BE4FB3E4-0A58-4984-8AFD-AE8426898392" Message-Id: Mime-Version: 1.0 (Mac OS X Mail 7.3 \(1878.6\)) Subject: Re: echoplex parameters button Date: Wed, 22 Oct 2014 12:29:46 -0700 References: <20141022154236.9B84E183560@arsenic.violacea.com> To: Loopers-Delight@loopers-delight.com In-Reply-To: <20141022154236.9B84E183560@arsenic.violacea.com> X-Mailer: Apple Mail (2.1878.6) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123621 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 19:33:20 +0000 (UTC) --Apple-Mail=_BE4FB3E4-0A58-4984-8AFD-AE8426898392 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=windows-1252 Per section 7-4 of the manual, MIDI note =93C=94 w/ zero offset doubles = the Parameter Button. It=92s an alternative to the soldering gun. > From: KENN LOWY >=20 > The parameters button has stopped working on my echoplex. Any = suggestions of things I can try? --Apple-Mail=_BE4FB3E4-0A58-4984-8AFD-AE8426898392 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=windows-1252
Per section 7-4 of the manual, MIDI note =93C=94 w/ zero offset = doubles the Parameter Button.  It=92s an alternative to the = soldering gun.

From: KENN LOWY <kennlowy@icloud.com>

The parameters button has stopped working on = my echoplex. Any suggestions of things I can = try?
= --Apple-Mail=_BE4FB3E4-0A58-4984-8AFD-AE8426898392-- From Loopers-Delight-request@loopers-delight.com Wed Oct 22 21:12:01 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D383A18355C; Wed, 22 Oct 2014 21:12:01 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <4a48f4cf5c26ad7d42aaa10debcd3091.squirrel@www.noahpeterson.com.hostbaby.com> Date: Wed, 22 Oct 2014 16:08:26 -0500 Subject: SoCal LoopFest From: "Noah Peterson" To: "Loopers-Delight" Reply-To: noah@noahpeterson.com User-Agent: SquirrelMail/1.4.21 [SVN] MIME-Version: 1.0 Content-Type: text/plain;charset=iso-8859-1 Content-Transfer-Encoding: 8bit X-Priority: 3 (Normal) Importance: Normal Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123622 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 22 Oct 2014 21:12:01 +0000 (UTC) Hey Y'all, The Southern California LoopFest is tonight and tomorrow, 6pm Pacific Standard Time. Wed night line-up: Noah Peterson - San Antonio, TX Rejyna - Los Angeles, CA Sander Roscoe Wolff - Long Beach, CA Mike Why- Pittsburgh, PA Per Boysen - Stockholm Sweden Jeff Kaiser - San Diego, CA ANI - San Francisco, CA Just Alliance: - Las Vegas, NV Streaming link: https://www.concertwindow.com/shows/9570-southern-california-loopfest Thur night line-up: riz orkestra - Los Angeles, CA Mandoman - Osaka, Japan Cian - Guadalajara Jalisco, Mexico Jean-Paul De Roover, Thunder Bay, Ontario, Canada Daniel Park - Las Vegas, NV Zack Walters - Los Angeles, CA SuperTall Paul Newman - Los Angeles, CA Nicholas Chacon - Pomona, CA Strictly Albert - San Francisco, CA Streaming link: https://www.concertwindow.com/shows/9572-southern-california-loopfest Enjoy! Noah Peterson Entertainment, Llc 999 East Basse Road #180-117 San Antonio, TX 78209 503-703-9516 -- www.noahpeterson.com www.petersonentertainment.com From Loopers-Delight-request@loopers-delight.com Thu Oct 23 08:23:01 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 3B43018355A; Thu, 23 Oct 2014 08:23:01 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 597 seconds by postgrey-1.34 at arsenic; Thu, 23 Oct 2014 08:23:00 UTC X-IronPort-Anti-Spam-Filtered: true X-IronPort-Anti-Spam-Result: AuoBAHu2SFRPT46ZPGdsb2JhbAANT4t3yWuDFgEJAoEjAQEFAQEBATiEPQEBAQECAThABgsLGAkWDwkDAgECATEUEwgBAYg1sleVQQEBAQEGAQEBAR6QXRaENQW4A4M2AQEB X-IPAS-Result: AuoBAHu2SFRPT46ZPGdsb2JhbAANT4t3yWuDFgEJAoEjAQEFAQEBATiEPQEBAQECAThABgsLGAkWDwkDAgECATEUEwgBAYg1sleVQQEBAQEGAQEBAR6QXRaENQW4A4M2AQEB X-IronPort-AV: E=Sophos;i="5.04,774,1406588400"; d="scan'208";a="649031159" Message-ID: <5448B7F8.1080509@tiscali.co.uk> Date: Thu, 23 Oct 2014 09:10:32 +0100 From: andy butler User-Agent: Mozilla/5.0 (Windows NT 6.3; WOW64; rv:24.0) Gecko/20100101 Thunderbird/24.1.0 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Another archival piece but not as old References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com> In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123623 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 23 Oct 2014 08:23:01 +0000 (UTC) On 22/10/2014 16:33, Ivodne Galatea wrote: > Here is Brian May (yes) One of the 2 guys who never get mentioned in the "history of looping". The other being John Martyn. ( first track on "Live at Leeds" is a good representation of his proto-looping ) I heard tales that Gary Moore also did stuff with tape delay. > short piece of close-looping ??? - I just hear 2 distinct delays exactly like the demo with distortion. andy From Loopers-Delight-request@loopers-delight.com Thu Oct 23 08:45:39 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 2E10118355C; Thu, 23 Oct 2014 08:45:39 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [DQR2wkDAKgv97nh3bToL3lIt5oKL6qHP] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_71d24a2c-9ccd-4070-80b8-07a087edea0d_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Another archival piece but not as old Date: Thu, 23 Oct 2014 08:42:08 +0000 Importance: Normal In-Reply-To: <5448B7F8.1080509@tiscali.co.uk> References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com> ,<5448B7F8.1080509@tiscali.co.uk> MIME-Version: 1.0 X-OriginalArrivalTime: 23 Oct 2014 08:42:08.0946 (UTC) FILETIME=[3B50C920:01CFEE9D] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123624 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 23 Oct 2014 08:45:39 +0000 (UTC) --_71d24a2c-9ccd-4070-80b8-07a087edea0d_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Yes=2C that is correct. The looping is functional rather than additive (thi= s is what Kaiser does - not using feedback but rather the representation of= the original as acoustic phenomena=2C so there is acoustic addition withou= t feedback). >=20 > > short piece of close-looping >=20 > ??? - I just hear 2 distinct delays exactly like the demo with distortion= . >=20 > andy >=20 = --_71d24a2c-9ccd-4070-80b8-07a087edea0d_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Yes=2C that is correct. The= looping is functional rather than additive (this is what Kaiser does - not= using feedback but rather the representation of the original as acoustic p= henomena=2C so there is acoustic addition without feedback).

=


>=3B
>=3B >=3B short pie= ce of close-looping
>=3B
>=3B ??? - I just hear 2 distinct delay= s exactly like the demo with distortion.
>=3B
>=3B andy
>= =3B
= --_71d24a2c-9ccd-4070-80b8-07a087edea0d_-- From Loopers-Delight-request@loopers-delight.com Thu Oct 23 08:48:10 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id E32DD183561; Thu, 23 Oct 2014 08:48:10 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [6cvrv5cPAyR/ft9t83vOvCMPo7gNJbF+] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_fe9ab461-9e46-4852-a596-6602a554ab55_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Another archival piece but not as old Date: Thu, 23 Oct 2014 08:44:40 +0000 Importance: Normal In-Reply-To: <5448B7F8.1080509@tiscali.co.uk> References: <3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com> <672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com> ,<5448B7F8.1080509@tiscali.co.uk> MIME-Version: 1.0 X-OriginalArrivalTime: 23 Oct 2014 08:44:40.0793 (UTC) FILETIME=[95D2CC90:01CFEE9D] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123625 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 23 Oct 2014 08:48:10 +0000 (UTC) --_fe9ab461-9e46-4852-a596-6602a554ab55_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable "Outside in" - yes https://www.youtube.com/watch?v=3D0th6wxrbU0s for those who don't know it > Date: Thu=2C 23 Oct 2014 09:10:32 +0100 > From: akbutler@tiscali.co.uk > To: Loopers-Delight@loopers-delight.com > Subject: Re: Another archival piece but not as old >=20 >=20 >=20 > On 22/10/2014 16:33=2C Ivodne Galatea wrote: > > Here is Brian May (yes) >=20 > One of the 2 guys who never get mentioned in the "history of looping". >=20 > The other being John Martyn. ( first track on "Live at Leeds" is a good > representation of his proto-looping ) >=20 > I heard tales that Gary Moore also did stuff with tape delay. >=20 > > short piece of close-looping >=20 > ??? - I just hear 2 distinct delays exactly like the demo with distortion= . >=20 > andy >=20 = --_fe9ab461-9e46-4852-a596-6602a554ab55_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
"Outside in" - yes


for those who don't know it


=

>=3B Date: Thu=2C 23 Oct 2014 09:10:32 +0100
>=3B From:= akbutler@tiscali.co.uk
>=3B To: Loopers-Delight@loopers-delight.com>=3B Subject: Re: Another archival piece but not as old
>=3B
&= gt=3B
>=3B
>=3B On 22/10/2014 16:33=2C Ivodne Galatea wrote:>=3B >=3B Here is Brian May (yes)
>=3B
>=3B One of the 2 gu= ys who never get mentioned in the "history of looping".
>=3B
>= =3B The other being John Martyn. ( first track on "Live at Leeds" is a good=
>=3B representation of his proto-looping )
>=3B
>=3B I h= eard tales that Gary Moore also did stuff with tape delay.
>=3B
&g= t=3B >=3B short piece of close-looping
>=3B
>=3B ??? - I just = hear 2 distinct delays exactly like the demo with distortion.
>=3B >=3B andy
>=3B
= --_fe9ab461-9e46-4852-a596-6602a554ab55_-- From Loopers-Delight-request@loopers-delight.com Thu Oct 23 08:53:09 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 65D5A183563; Thu, 23 Oct 2014 08:53:09 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [hl/rBOWEAVJOs48dV76UVh0ETfeKY6J6] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_09c2456d-09f6-454c-8221-5658e5d56e8f_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Another archival piece but not as old Date: Thu, 23 Oct 2014 08:49:38 +0000 Importance: Normal In-Reply-To: References: ,<3266B232-F2EC-4B05-B187-0A70E9E6EECD@isproductions.com>,<672BAEFD-6817-422B-8272-3214FA7B343D@gmail.com>,<009e01cfee06$372cefa0$a586cee0$@gmail.com>,,<5448B7F8.1080509@tiscali.co.uk>, MIME-Version: 1.0 X-OriginalArrivalTime: 23 Oct 2014 08:49:39.0086 (UTC) FILETIME=[479EB2E0:01CFEE9E] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123626 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 23 Oct 2014 08:53:09 +0000 (UTC) --_09c2456d-09f6-454c-8221-5658e5d56e8f_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable That strikes me as a really really bad clarification. I must be tireder tha= n I thought. Yes=2C that is correct=2C there is no feedback mechanism to mix the played = sound back in a Terry Riley Time Lag Accumulator sense If we allow within the genre of looping delayed but not fed-back sounds - l= ike Henry Kaiser does in that demo I posted a link to yesterday - then May = is doing that style of looping=2C wherein the stacking is done acoustically= =20 Sorry about the murkification From: takas20@hotmail.com To: loopers-delight@loopers-delight.com Subject: RE: Another archival piece but not as old Date: Thu=2C 23 Oct 2014 08:42:08 +0000 =0A= =0A= =0A= Yes=2C that is correct. The looping is functional rather than additive (thi= s is what Kaiser does - not using feedback but rather the representation of= the original as acoustic phenomena=2C so there is acoustic addition withou= t feedback). >=20 > > short piece of close-looping >=20 > ??? - I just hear 2 distinct delays exactly like the demo with distortion= . >=20 > andy >=20 = --_09c2456d-09f6-454c-8221-5658e5d56e8f_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
That strikes me as a really real= ly bad clarification. I must be tireder than I thought.

= Yes=2C that is correct=2C there is no feedback mechanism to mix the played = sound back in a Terry Riley Time Lag Accumulator sense

=
If we allow within the genre of looping delayed but not fed-back sound= s - like Henry Kaiser does in that demo I posted a link to yesterday - then= May is doing that style of looping=2C wherein the stacking is done acousti= cally =3B

Sorry about the murkification

From: takas20@hotmail.com
To: loopers-deli= ght@loopers-delight.com
Subject: RE: Another archival piece but not as o= ld
Date: Thu=2C 23 Oct 2014 08:42:08 +0000

=0A= =0A= =0A=
Yes=2C that is correct. The looping is functional rat= her than additive (this is what Kaiser does - not using feedback but rather= the representation of the original as acoustic phenomena=2C so there is ac= oustic addition without feedback).


=
>=3B
>=3B >=3B short piece of close-looping
>= =3B
>=3B ??? - I just hear 2 distinct delays exactly like the demo wi= th distortion.
>=3B
>=3B andy
>=3B
= --_09c2456d-09f6-454c-8221-5658e5d56e8f_-- From Loopers-Delight-request@loopers-delight.com Thu Oct 23 15:17:44 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 751F118355D; Thu, 23 Oct 2014 15:17:44 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <54491B42.8070901@soundscapes.us> Date: Thu, 23 Oct 2014 11:14:10 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Galactic Travels Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123627 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 23 Oct 2014 15:17:44 +0000 (UTC) GALACTIC TRAVELS ON WDIY http://galactictravels.info Please SHARE so that more people can listen to and support the artists. Tonight at 11 pm EDT/GMT-4 on Galactic Travels, I'll continue month-long Special Focus on Craig Padilla. The Featured CD at Midnight will be LP 1 from "Sonar" on Fruits de Mer Records. The Special Focus page is at http://soundscapes.us/gt/playlists/2014/focus.html#oct Galactic Travels is an electronic, ambient, and space music show that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville and Trexlertown, and on the internet at http://wdiy.org. Become a WDIY member now! http://ow.ly/pJhCf From Loopers-Delight-request@loopers-delight.com Fri Oct 24 17:18:05 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 256CF167626; Fri, 24 Oct 2014 17:18:05 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 328 seconds by postgrey-1.34 at arsenic; Fri, 24 Oct 2014 17:18:04 UTC X-Originating-IP: [50.127.6.151] X-Previous-IP: 50.127.6.151 From: Jeff Shirkey Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Subject: FS: EDP and Eclipse Date: Fri, 24 Oct 2014 12:11:32 -0500 Message-Id: <3B3932BD-FA78-4508-A1BF-A131447937D5@frontier.com> To: loopers-Delight@loopers-delight.com Mime-Version: 1.0 (Apple Message framework v1085) X-Mailer: Apple Mail (2.1085) Resent-Message-ID: <_NLF7B.A.NhB.MnoSUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123628 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 24 Oct 2014 17:18:05 +0000 (UTC) I think I have no choice but to part with these two pieces of gear. 1. Gibson EDP (black face) with foot controller. Pretty much mint = condition. Will gladly send pics, of course. I was thinking $700 = shipped, but feel free to make an offer. I really haven't priced them = lately. 2. Eventide Eclipse. Also in great shape. Battery recently changed. = $1150 shipped. Thanks, Jeff= From Loopers-Delight-request@loopers-delight.com Fri Oct 24 19:28:41 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id DF678167619; Fri, 24 Oct 2014 19:28:41 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <544AA79A.6020106@cruzio.com> Date: Fri, 24 Oct 2014 12:25:14 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: SoCal LoopFest References: <20141024171805.6FE6C167697@arsenic.violacea.com> In-Reply-To: <20141024171805.6FE6C167697@arsenic.violacea.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit X-Antivirus: avast! (VPS 141024-0, 10/23/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123629 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 24 Oct 2014 19:28:41 +0000 (UTC) Gosh, Noah, You've done it again, What a strong lineup!!!!! Have a wonderful festival everyone. We're still sitting here with amazing lingering memories of the Y2K14 LoopFest............... Such wonderful music and such incredible people. I wish I was down there playing with y'all or at least hearing you all. Please give my big love to Jeff Kaiser!!!! And please let SuperTall Paul Newman that we'd love to have him up here for next years' 15th Anniversary of the Y2K15 Main Festival!!! Have fun everyone! love, Rick The Southern California LoopFest is tonight and tomorrow, 6pm Pacific Standard Time. Wed night line-up: Noah Peterson - San Antonio, TX Rejyna - Los Angeles, CA Sander Roscoe Wolff - Long Beach, CA Mike Why- Pittsburgh, PA Per Boysen - Stockholm Sweden Jeff Kaiser - San Diego, CA ANI - San Francisco, CA Just Alliance: - Las Vegas, NV Streaming link: https://www.concertwindow.com/shows/9570-southern-california-loopfest Thur night line-up: riz orkestra - Los Angeles, CA Mandoman - Osaka, Japan Cian - Guadalajara Jalisco, Mexico Jean-Paul De Roover, Thunder Bay, Ontario, Canada Daniel Park - Las Vegas, NV Zack Walters - Los Angeles, CA SuperTall Paul Newman - Los Angeles, CA Nicholas Chacon - Pomona, CA Strictly Albert - San Francisco, CA Streaming link: https://www.concertwindow.com/shows/9572-southern-california-loopfest 503-703-9516 --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Sat Oct 25 08:38:03 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id BFC36183555; Sat, 25 Oct 2014 08:38:03 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <544B608F.4030901@soundscapes.us> Date: Sat, 25 Oct 2014 04:34:23 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Thought Radio Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123630 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 25 Oct 2014 08:38:03 +0000 (UTC) THOUGHT RADIO http://soundscapes.us/thoughtradio Please SHARE so that more people can listen to and support the artists. Thought Radio, the Saturday edition of The AM/FM Show, is on at 6 am EDT/GMT-4. In Phase One, I will continue the special on Sequences Electronic Music Magazine's sampler CDs. In Phase 3, the Artist of the Month is Pallas. The show features electronic, ambient, and spacemusic at the beginning, an eclectic mix of genres in the middle, and winds up with Progressive Rock. Tune in at 91.7 FM or on the internet at http://muhlenberg.edu/wmuh/stream.html From Loopers-Delight-request@loopers-delight.com Sat Oct 25 14:54:16 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D3F7718355C; Sat, 25 Oct 2014 14:54:16 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=subject:from:content-type:message-id:date:to :content-transfer-encoding:mime-version; bh=gv6g88lY2/NXs716WsEdBzQplhmrv+2xrlaLNVCnWXo=; b=OcpEAZSf86isTOj2Jt7a5Vo4bBhnInD6Ey1LcR7FvOrcIBd1gLThh2RIDgY8HU6GEq qTP2cnwGSP9IyUUjyTErFLfaJd7mFo0o54MC9tUVDjNBSoz9vUWyPcu3BJwUxwu6jgui BztROtkdrDt7mLKHUKdG23Ty2VaKVu7pwYheMMKsZk9z56/KKggCu0ZiI7JeB0+TUxv5 CNEQjfKcSABRU17yBbNq6Q+JYT6trOP60cj1n5rqZ+LAxQBzRyhikJ0+rrzhDDoDb/8/ i9wov+Qgr/PPMVCvxwvB7RxF3viczBb0b1K1cxkIaD2EJ2b42GGPdzN5EfezPGDkmZCN HSJg== X-Received: by 10.229.239.74 with SMTP id kv10mr16370583qcb.27.1414248643991; Sat, 25 Oct 2014 07:50:43 -0700 (PDT) Subject: Electric Repeater for sale! Great condition! From: Ed Drake Content-Type: text/plain; charset=us-ascii X-Mailer: iPad Mail (11D257) Message-Id: <787BAF8D-A519-401B-AB6C-C365B1126F92@gmail.com> Date: Sat, 25 Oct 2014 10:50:42 -0400 To: Loopers-Delight@loopers-delight.com Content-Transfer-Encoding: 7bit Mime-Version: 1.0 (1.0) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123631 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 25 Oct 2014 14:54:16 +0000 (UTC) I have an Electrix Repeater in great condition for sale. Pictures and serial number available upon request (It's in a rack at the moment so I can't see the SN). I am the original owner and purchased this unit from Alto music when the Repeater's were first released and it's been in my smoke free music studio ever since. To be honest I haven't used it as much over the years as I thought I would. This unit and the power supply are stock, it has NOT had the Condor Electronics noise mod. I have the latest version of the operating system plus several of the older versions as well. Manuals and documentation are included. I know I have the original box around here somewhere but I can't locate it at the moment. I also have several fully functional totally compatible flash cards with the Hitachi controller for sale. These allow recording in reverse, etc. For convenience I would rather sell the Repeater and flash cards as a total package but might be convinced to sell them separately. The flash cards with the Hitachi controller are one Pretec 512 MB card, two Simpletech cards, a 256MB and 128MB, the original Electrix 16 MB card. I also have one San Disk 32 MB card which does NOT have the Hitachi controller, it came with the last version of the OS loaded on it. I've been a member of Loopers Delight mailing list since the beginning (the 90's). I am located in Virginia. I am asking $900 for the whole package but the price is open for negotiation, buyer pays shipping. If anyone is interested please email with questions. I can give you my cell phone number and we can talk. I'd rather not put this on fleabay or Craig's list but I might have to depending on whether anyone here is interested. Thanks for looking!! From Loopers-Delight-request@loopers-delight.com Sat Oct 25 15:07:10 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D8CFD167619; Sat, 25 Oct 2014 15:07:10 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [YmRJPu4zpMc/JEbjel2qq77kAKXYKngT] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_920c9dee-9695-4eae-83bb-fc397f688512_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Another noetic attendance - Guitaret live-looping incl novel technique (I think) Date: Sat, 25 Oct 2014 15:03:38 +0000 Importance: Normal In-Reply-To: <787BAF8D-A519-401B-AB6C-C365B1126F92@gmail.com> References: <787BAF8D-A519-401B-AB6C-C365B1126F92@gmail.com> MIME-Version: 1.0 X-OriginalArrivalTime: 25 Oct 2014 15:03:38.0132 (UTC) FILETIME=[DB28E540:01CFF064] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123632 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 25 Oct 2014 15:07:10 +0000 (UTC) --_920c9dee-9695-4eae-83bb-fc397f688512_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi everyone - here is another live-looping performance=2C this time featuri= ng my main instrument=2C the Hohner Guitaret. I am using all of my delays i= n t different forms=2C most often more than one for coloration effect. So t= here is Strymon Timeline and Akai Headrush II as wonky tape delays=2C Seymo= ur Duncan as a heavily modulated 15 seconds BBD etc. The one this that people might be interested in technically (I haven't seen= it done elsewhere=2C but I live on the edge of the desert on the wrong sid= e of the world=2C and I really don't get out much=2C so I may have missed i= t) is routing routing the send from a freeze pedal (EHX super-ego) through = a Digitech Whammy DT that has as a sidecar the Molten Voltage MIDI T pitch = sequencer - so I get all of the wonderful sympathetic sound of granular del= ay and sustain=2C but with a sequencer-like pitch variation. (I also route = it out through an old Akai Pandora 4a in "stars" and mode which has a reso-= distorting effect). Anyway=2C I haven't heard of this being done=2C and it = is a really nice trick. You can program any number of sequences into it and= manipulate it on the fly. I have had up to 60 steps in breve rhythm moving= the musing around - it makes for a really interesting wash under the most = often monotone/modal looping practice (I thought it up to break through tha= t tendency). I often put another pitch bender in front of it for a kind of = mode shifting thing.=20 Anyway=2C here is my hat-tipping to the wonderful performances at Socal Loo= pfest 2014 - four performances in different looping approaches I hope https://www.youtube.com/watch?v=3DSo2z6h4KBY4&list=3DPLz_vwEfvzwQgaoDNLxoqB= WNdH4NJYPsFX&index=3D1 ig = --_920c9dee-9695-4eae-83bb-fc397f688512_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Hi everyone - here is another li= ve-looping performance=2C this time featuring my main instrument=2C the Hoh= ner Guitaret. I am using all of my delays in t different forms=2C most ofte= n more than one for coloration effect. So there is Strymon Timeline and Aka= i Headrush II as wonky tape delays=2C Seymour Duncan as a heavily modulated= 15 seconds BBD etc.

The one this that people might be interested in= technically (I haven't seen it done elsewhere=2C but I live on the edge of= the desert on the wrong side of the world=2C and I really don't get out mu= ch=2C so I may have missed it) is routing routing the send from a freeze pe= dal (EHX super-ego) through a Digitech Whammy DT that has as a sidecar the = Molten Voltage MIDI T pitch sequencer - so I get all of the wonderful sympa= thetic sound of granular delay and sustain=2C but with a sequencer-like pit= ch variation. (I also route it out through an old Akai Pandora 4a in "stars= " and mode which has a reso-distorting effect). Anyway=2C I haven't heard o= f this being done=2C and it is a really nice trick. You can program any num= ber of sequences into it and manipulate it on the fly. I have had up to 60 = steps in breve rhythm moving the musing around - it makes for a really inte= resting wash under the most often monotone/modal looping practice (I though= t it up to break through that tendency). I often put another pitch bender i= n front of it for a kind of mode shifting thing.

Anyway=2C here is = my hat-tipping to the wonderful performances at Socal Loopfest 2014 - four = performances =3B in different looping approaches I hope

https://www.youtu= be.com/watch?v=3DSo2z6h4KBY4&=3Blist=3DPLz_vwEfvzwQgaoDNLxoqBWNdH4NJYPsF= X&=3Bindex=3D1

ig
= --_920c9dee-9695-4eae-83bb-fc397f688512_-- From Loopers-Delight-request@loopers-delight.com Sat Oct 25 22:26:23 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 351141675D5; Sat, 25 Oct 2014 22:26:23 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <544C22B3.90604@soundscapes.us> Date: Sat, 25 Oct 2014 18:22:43 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Thought Radio Playlist for October 25, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123633 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sat, 25 Oct 2014 22:26:23 +0000 (UTC) http://soundscapes.us/thoughtradio/playlists/2014/141025.html Thought Radio is the Saturday edition of The AM/FM Show hosted by Bill Fox. You can expect to hear electronic, ambient, spacemusic, Progressive Rock, and an eclectic mix of other genres. The show airs from 6:00 am to 8:00 am EDT/GMT-4 on WMUH Allentown, 91.7 FM and streaming on the internet. Bill also hosts Afterglow every Thursday from 8:00 am to 9:30 am.http://soundscapes.us/afterglow Show #296 October 25, 2014. Recap: In Phase 1, I continued the special on Sequences electronic music magazine. In Phase 3, the Artist of the Month is Pallas. I played music from "The Cross & the Crucible" on InsideOut. Phase I/Space: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Steve Roach and The Circle Opens The Ancestor Circle (Projekt) Jorge Reyes VA [Mike Andrews] Shoulder Sequences No. 28 VA [Craig Padilla] Secret Language Strange Fish 1 (Fruits de Mer) Bouvetoya Radio Jupiter Interstellarphobic (SynGate) 22.2 MHz Karelian Skies Something Sugary Karelian Skies 2014 (none) Phase II/Eclectic: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Kevin Kastning and While Still and Stanze (Greydisc) Carl Clements Moving Ludovico Einaudi Calmo Stanze (Decca) Kendra Logozar Faith Faith (none) Don Ross Berkley Springs PS15 (Candyrat) Phase III/Progressive Rock: ARTIST TRACK ALBUM (label) ==================== ==================== ============================== Pallas The Cross & the The Cross & the Crucible Crucible (InsideOut) Pallas For the Greater The Cross & the Crucible Glory (InsideOut) Heliopolis Love and Inspiration City of the Sun (10T) Carpe Nota Batovich Carpe Nota (none) Alan Morse Cold Fusion * Four O'clock and Hysteria (InsideOut) * = excerpt ++ = Advanced CDR from artist VA = Various Artists (compilation) On the next show, I will continue the special on the sampler CDRs that came with each issue of Sequences electronic music magazine. The Artist of the Month will be Discipline. Bill Fox ======================================================================== Host of Thought Radio, the Saturday edition of The AM/FM Show every other Saturday at 6:00 am. Phase 1: Electronic, ambient, and space music. Phase 2: Mixed bag of acoustic, electric, pop, or New Age. Phase 3: Progressive rock from past masters to contemporary releases. Website: http://soundscapes.us/thoughtradio MySpace: http://myspace.com/thoughtradio Facebook Page: http://facebook.com/thoughtradio Facebook Group: http://facebook.com/groups/thoughtradio Listen to WMUH Allentown locally at 91.7 FM or on-line at http://www.muhlenberg.edu/wmuh/stream.html Playlists are also published at http://billfox.blogspot.com RSS (2.0) feed from http://billfox.blogspot.com/rss.xml Atom (0.3) feed from http://billfox.blogspot.com/atom.xml ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Sun Oct 26 03:41:04 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 4BA5B167602; Sun, 26 Oct 2014 03:41:04 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [64QEmv3+QN1wxRFgLsU0GW6q4bR/9GSx] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_1e235c1f-c5f7-4e82-a39e-505c5d411a25_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: SoCal LoopFest Date: Sun, 26 Oct 2014 03:37:30 +0000 Importance: Normal In-Reply-To: <544AA79A.6020106@cruzio.com> References: <20141024171805.6FE6C167697@arsenic.violacea.com>,<544AA79A.6020106@cruzio.com> MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 03:37:30.0536 (UTC) FILETIME=[2BC60280:01CFF0CE] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123634 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 03:41:04 +0000 (UTC) --_1e235c1f-c5f7-4e82-a39e-505c5d411a25_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Hi all This is a longish post because I'm posting text from sources at the end. The=0A= "Fifth Business" of live looping is the anonymous French technician =0A= from Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemented Riley's desi= re =0A= for an Echoplex with a long delay as a pair of twinned machines with an =0A= cabled feedback.=20 Riley's genius was in conceiving of the utility=0A= of the long duration regenerative loop (he had worked with prerecorded =0A= long loops in Mescalin Mix)=2C and equally importanly=2C on its realisation= =2C=0A= he immediately knew what could be done with it in terms of performance -= =0A= he shifted from the idea of a cut-up version of Chet Baker's jazz to =0A= what we now know to be live-looping. That's what great artists do. Look =0A= what Matisse did with the idea of cutouts. And there's a certain wow =0A= emotion I think everyone here remembers getting the first time of =0A= becoming aware of the possibilities of Riley's "phantom band" in their =0A= own praxis.=20 But the anonymous French technician=2C he keeps on =0A= returning to my mind=2C about his identity - he wasn't surprised by the =0A= request (he hadn't heard of the Echoplex) but thought about it and =0A= presented a solution. We know that for more than a decade =0A= previously the GRM under Schaeffer had been experimenting with such =0A= things as the Morphophone for experimenting with delays=2C and the amazing= =0A= tempophon with spinning heads that could do real time pitch shifting =0A= with heads that rotated in the same or opposite direction of the tape to=0A= make the apparent speed of the head at tape slower or faster for the =0A= same moment in time. Now if this anonymous engineer worked in Paris for =0A= ORTF=2C then he will certainly have known of it=2C and may have even worked= =0A= there. Given the number of experimental art musicians with a day job=2C he= =0A= may have even been a musique concrete practitioner himself. I've=0A= not been able to figure out who he was=2C with all the online material =0A= available. I made a ridiculously long short list by getting the name of =0A= every French sound engineer associated with ORTF around then (I was =0A= going to try to write to them)=2C but that wasn't much help as with the =0A= number of possible identifiable addresses for each name the line of =0A= research kind of petred out. So that's about it really. Who is that guy? Look at the extracts under the = sig. If=0A= anyone is interested in New York=2C Ken Dewey's archives for the period = =0A= are available to look in. It includes his accounts and correspondence=2C = =0A= so the name of the engineer might be in there http://archives.nypl.org/controlaccess/160584?term=3DRiley=2C%20Terry=2C%20= 1935- Alternatively anyone in Paris could inquire if employment or contractual re= cords at ORTF go back that far.=20 If=0A= there's anyone in the looping community looking for a research project =0A= for an honours or masters project in musicology it might be an =0A= intereting lead Of course someone may know who it is=2C but the name is nowhere on the =0A= internet and I am tired of seeing this blacksmith to the gods go without=0A= a name. ig ************************************************************************* Texts ************************************************************************* >From SF Tape Music Center by Berstein Riley:=0A= Ken got me into a small recording studio at the Sarah Bernhardt Theater=0A= in Paris. We took Chet Baker and his hand in. and I gave him some ideas=0A= about what to record. Mainly. I wanted him to play=2C a modal piece=2C and= =0A= they picked So What? by Miles Davis. I told them to play the solos =0A= separately=2C without the whole hand. So that I could cut it up and put it= =0A= back together later. And so this was the first project I=92d done in two = =0A= years. Up until that point I had not been in a studio. I had not had any=0A= equipment=2C nothing. So it was very exciting for me to finally hit =0A= something that I could put my teeth into and feel real exhilarated about=0A= working on. Bernstein: Was the studio part of the French National Radio? Riley:=0A= Yes=2C it was the French radio=2C but they had studios in different places= .=0A= It just happened to he the Sarah Bernhardt studio where we did the =0A= recording and used their studios for mixing. Bernstein: And they- showed you a way to do tape delay? Riley:=0A= Yes=2C the recording engineer . . . it was funny because I had Mescalin = =0A= Mix and the Echoplex loop in my mind. I think I first asked the =0A= engineer=2C =93Do you have an Echoplex?" and he said. "No.=94 So I said=2C = =93Well=0A= I want this kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a long loop=2C= =0A= and do you know how you can do that?" and he said=2C =93Oh=2C yes!" He =0A= stretched the tape between two tape recorders and voili! and I thought=2C = =0A= oh=2C this is incredible=2C exactly what I want. Bernstein: I really like the way you use tape delay in The Gift. Riley:=0A= I used some small tape loops=2C of course=2C and John Graham's voice. It = =0A= was interesting because I was working with an engineer who was a very =0A= straight guy in a white jacket=2C you know [laughs] who looks like he=92s = =0A= wearing a lab coat. I had to tell him what I was trying to do without =0A= having my hands on the machine=2C which is a little bit frustrating. But = =0A= it was so wonderful to have really high quality=2C even though in those =0A= days I guess it was mono=2C hut just to have these really high-quality =0A= machines to work with=2C where you really could hear what you were =0A= recording. Notes to the Gift by Riley The accumulation=0A= technique hadn=92t been invented yet and it got invented during this =0A= session. I was asking the engineer=2C describing to him the kind of sound I= =0A= had worked with in Mescalin Mix [an earlier tape composition]. I wanted=0A= this kind of long=2C repeated loop and I said =93can you create something = =0A= like that?=94 He got it by stringing the tape between two tape recorders = =0A= and feeding the signal from the second machine back to the first to =0A= recycle along with the new incoming signals. By varying the intensity of=0A= the feedback you could form the sound either into a single image =0A= without delay or increase the intensity until it became a dense chaotic =0A= kind of sound . . . The engineer was the first to create this technique =0A= that I know of. This began my obsession with time-lag accumulation =0A= feed-back. >From Terry Riley's In C by Robert Carl=20 "Ken =0A= rented an old chateau in the Valdoinois=2C south of Paris. All the actors = =0A= and everybody lived in it while the show was being put together. There =0A= was a big barn connected to the chateau. We rehearsed in the bam I'd =0A= come to the chateau at night and bring back the tapes I=92d been working = =0A= on. We'd listen to them=2C and the actors would try to get a sense of how = =0A= to relate to the music. Occasionally Chet and the band would come out to=0A= the chateau and we'd have a full rehearsal with everybody. Ken would =0A= watch the whole thing and would try to get the actors to interact more =0A= with the musicians=2C and try to get the musicians to be more involved =0A= with the action.=94 Riley decided to use his looping procedure as =0A= the basic compositional technique=2C returning to electronic media for the= =0A= first time in a couple of years. [...] Dewey had brought in a French =0A= technician from the National Radio (ORTF) to aid with the final mix=2C =0A= Riley describes what happened next: =93I described the effect [of echoing = =0A= similar to Mesealtn Mix] to the French engineer=2C a very straight guy in a= =0A= white coat=2C who fooled around and ended up hooking two tape recorders = =0A= together. Boy! When I heard that sound it was just what I wanted What =0A= you do is connect two tape recorders. The first one is playing back=2C the= =0A= second recording=2C the tape stretched across the heads of both. As this = =0A= machine records=2C it feeds back to the other machine=2C which plays back = =0A= what it=92s added. It keeps building up... =94 What Riley had discovered = =0A= was a setup he would use for the next decade in solo performance=2C one of= =0A= the first major instances of interactive real-time electronic music. He=0A= called it the =93time-lag accumulator.=94 It allowed looping=2C but now wi= th =0A= the precise time interval between the initial sound and its echo=2C =0A= defined by the length of tape separating the playback from record heads.=0A= It also allowed for controlled layering of sounds=2C critically in real = =0A= time. By making the decision to also record the performers individually=2C= =0A= Riley created a rich inventory of materials that he could then combine =0A= and elaborate into an entirely new counterpoint.=20 = --_1e235c1f-c5f7-4e82-a39e-505c5d411a25_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable
Hi all

This is a longish = post because I'm posting text from sources at the end.

The=0A= "Fifth Business" of live looping is the anonymous French technician =0A= from Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemented Riley's desi= re =0A= for an Echoplex with a long delay as a pair of twinned machines with an =0A= cabled feedback.

Riley's genius was in conceiving of the utility=0A= of the long duration regenerative loop (he had worked with prerecorded =0A= long loops in Mescalin Mix)=2C and equally importanly=2C on its realisation= =2C=0A= he immediately knew what could be done with it in terms of performance -= =0A= he shifted from the idea of a cut-up version of Chet Baker's jazz to =0A= what we now know to be live-looping. That's what great artists do. Look =0A= what Matisse did with the idea of cutouts. And there's a certain wow =0A= emotion I think everyone here remembers getting the first time of =0A= becoming aware of the possibilities of Riley's "phantom band" in their =0A= own praxis.

But the anonymous French technician=2C he keeps on =0A= returning to my mind=2C about his identity - he wasn't surprised by the =0A= request (he hadn't heard of the Echoplex) but thought about it and =0A= presented a solution.

We know that for more than a decade =0A= previously the GRM under Schaeffer had been experimenting with such =0A= things as the Morphophone for experimenting with delays=2C and the amazing= =0A= tempophon with spinning heads that could do real time pitch shifting =0A= with heads that rotated in the same or opposite direction of the tape to=0A= make the apparent speed of the head at tape slower or faster for the =0A= same moment in time. Now if this anonymous engineer worked in Paris for =0A= ORTF=2C then he will certainly have known of it=2C and may have even worked= =0A= there. Given the number of experimental art musicians with a day job=2C he= =0A= may have even been a musique concrete practitioner himself.

I've=0A= not been able to figure out who he was=2C with all the online material =0A= available. I made a ridiculously long short list by getting the name of =0A= every French sound engineer associated with ORTF around then (I was =0A= going to try to write to them)=2C but that wasn't much help as with the =0A= number of possible identifiable addresses for each name the line of =0A= research kind of petred out.

So that's about it really. Who is that = guy? Look at the extracts under the sig.

If=0A= anyone is interested in New York=2C Ken Dewey's archives for the period = =0A= are available to look in. It includes his accounts and correspondence=2C = =0A= so the name of the engineer might be in there
http://archives.nypl.org/controlaccess/160584?term=3DRiley=2C%2= 0Terry=2C%201935-

Alternatively anyone in Paris could inquire if= employment or contractual records at ORTF go back that far.

If=0A= there's anyone in the looping community looking for a research project =0A= for an honours or masters project in musicology it might be an =0A= intereting lead

Of course someone may know who it is=2C but the name= is nowhere on the =0A= internet and I am tired of seeing this blacksmith to the gods go without=0A= a name.

ig


*********************************************= ****************************
Texts
**********************************= ***************************************

From SF Tape Music Center by= Berstein

Riley:=0A= Ken got me into a small recording studio at the Sarah Bernhardt Theater=0A= in Paris. We took Chet Baker and his hand in. and I gave him some ideas=0A= about what to record. Mainly. I wanted him to play=2C a modal piece=2C and= =0A= they picked So What? by Miles Davis. I told them to play the solos =0A= separately=2C without the whole hand. So that I could cut it up and put it= =0A= back together later. And so this was the first project I=92d done in two = =0A= years. Up until that point I had not been in a studio. I had not had any=0A= equipment=2C nothing. So it was very exciting for me to finally hit =0A= something that I could put my teeth into and feel real exhilarated about=0A= working on.

Bernstein: Was the studio part of the French National R= adio?

Riley:=0A= Yes=2C it was the French radio=2C but they had studios in different places= .=0A= It just happened to he the Sarah Bernhardt studio where we did the =0A= recording and used their studios for mixing.

Bernstein: And they- sh= owed you a way to do tape delay?

Riley:=0A= Yes=2C the recording engineer . . . it was funny because I had Mescalin = =0A= Mix and the Echoplex loop in my mind. I think I first asked the =0A= engineer=2C =93Do you have an Echoplex?" and he said. "No.=94 So I said=2C = =93Well=0A= I want this kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a long loop=2C= =0A= and do you know how you can do that?" and he said=2C =93Oh=2C yes!" He =0A= stretched the tape between two tape recorders and voili! and I thought=2C = =0A= oh=2C this is incredible=2C exactly what I want.

Bernstein: I really= like the way you use tape delay in The Gift.

Riley:=0A= I used some small tape loops=2C of course=2C and John Graham's voice. It = =0A= was interesting because I was working with an engineer who was a very =0A= straight guy in a white jacket=2C you know [laughs] who looks like he=92s = =0A= wearing a lab coat. I had to tell him what I was trying to do without =0A= having my hands on the machine=2C which is a little bit frustrating. But = =0A= it was so wonderful to have really high quality=2C even though in those =0A= days I guess it was mono=2C hut just to have these really high-quality =0A= machines to work with=2C where you really could hear what you were =0A= recording.



Notes to the Gift by Riley
The accumulation=0A= technique hadn=92t been invented yet and it got invented during this =0A= session. I was asking the engineer=2C describing to him the kind of sound I= =0A= had worked with in Mescalin Mix [an earlier tape composition]. I wanted=0A= this kind of long=2C repeated loop and I said =93can you create something = =0A= like that?=94 He got it by stringing the tape between two tape recorders = =0A= and feeding the signal from the second machine back to the first to =0A= recycle along with the new incoming signals. By varying the intensity of=0A= the feedback you could form the sound either into a single image =0A= without delay or increase the intensity until it became a dense chaotic =0A= kind of sound . . . The engineer was the first to create this technique =0A= that I know of. This began my obsession with time-lag accumulation =0A= feed-back.


From Terry Riley's In C by Robert Carl

"Ken = =0A= rented an old chateau in the Valdoinois=2C south of Paris. All the actors = =0A= and everybody lived in it while the show was being put together. There =0A= was a big barn connected to the chateau. We rehearsed in the bam I'd =0A= come to the chateau at night and bring back the tapes I=92d been working = =0A= on. We'd listen to them=2C and the actors would try to get a sense of how = =0A= to relate to the music. Occasionally Chet and the band would come out to=0A= the chateau and we'd have a full rehearsal with everybody. Ken would =0A= watch the whole thing and would try to get the actors to interact more =0A= with the musicians=2C and try to get the musicians to be more involved =0A= with the action.=94

Riley decided to use his looping procedure as = =0A= the basic compositional technique=2C returning to electronic media for the= =0A= first time in a couple of years. [...] Dewey had brought in a French =0A= technician from the National Radio (ORTF) to aid with the final mix=2C =0A= Riley describes what happened next: =93I described the effect [of echoing = =0A= similar to Mesealtn Mix] to the French engineer=2C a very straight guy in a= =0A= white coat=2C who fooled around and ended up hooking two tape recorders = =0A= together. Boy! When I heard that sound it was just what I wanted What =0A= you do is connect two tape recorders. The first one is playing back=2C the= =0A= second recording=2C the tape stretched across the heads of both. As this = =0A= machine records=2C it feeds back to the other machine=2C which plays back = =0A= what it=92s added. It keeps building up... =94 What Riley had discovered = =0A= was a setup he would use for the next decade in solo performance=2C one of= =0A= the first major instances of interactive real-time electronic music. He=0A= called it the =93time-lag accumulator.=94 It allowed looping=2C but now wi= th =0A= the precise time interval between the initial sound and its echo=2C =0A= defined by the length of tape separating the playback from record heads.=0A= It also allowed for controlled layering of sounds=2C critically in real = =0A= time. By making the decision to also record the performers individually=2C= =0A= Riley created a rich inventory of materials that he could then combine =0A= and elaborate into an entirely new counterpoint.





=
= --_1e235c1f-c5f7-4e82-a39e-505c5d411a25_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 03:43:45 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 15D0A167626; Sun, 26 Oct 2014 03:43:45 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [C6HH/s7uFmMb0xFLW8o6yq9Yi65cnd75] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_5a107ece-8eb2-461e-bcff-550d4f921ec7_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Archival open ender - Terry Riley and the Fifth Business of Looping Date: Sun, 26 Oct 2014 03:40:11 +0000 Importance: Normal In-Reply-To: References: <20141024171805.6FE6C167697@arsenic.violacea.com>,<544AA79A.6020106@cruzio.com>, MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 03:40:11.0388 (UTC) FILETIME=[8BA613C0:01CFF0CE] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123635 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 03:43:45 +0000 (UTC) --_5a107ece-8eb2-461e-bcff-550d4f921ec7_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Sending again as the last one had the wrong title so may be missed Hi all This is a longish post because I'm posting text from sources at the end. The=0A= "Fifth Business" of live looping is the anonymous French technician =0A= from Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemented Riley's desi= re =0A= for an Echoplex with a long delay as a pair of twinned machines with an =0A= cabled feedback.=20 Riley's genius was in conceiving of the utility=0A= of the long duration regenerative loop (he had worked with prerecorded =0A= long loops in Mescalin Mix)=2C and equally importanly=2C on its realisation= =2C=0A= he immediately knew what could be done with it in terms of performance -= =0A= he shifted from the idea of a cut-up version of Chet Baker's jazz to =0A= what we now know to be live-looping. That's what great artists do. Look =0A= what Matisse did with the idea of cutouts. And there's a certain wow =0A= emotion I think everyone here remembers getting the first time of =0A= becoming aware of the possibilities of Riley's "phantom band" in their =0A= own praxis.=20 But the anonymous French technician=2C he keeps on =0A= returning to my mind=2C about his identity - he wasn't surprised by the =0A= request (he hadn't heard of the Echoplex) but thought about it and =0A= presented a solution. We know that for more than a decade =0A= previously the GRM under Schaeffer had been experimenting with such =0A= things as the Morphophone for experimenting with delays=2C and the amazing= =0A= tempophon with spinning heads that could do real time pitch shifting =0A= with heads that rotated in the same or opposite direction of the tape to=0A= make the apparent speed of the head at tape slower or faster for the =0A= same moment in time. Now if this anonymous engineer worked in Paris for =0A= ORTF=2C then he will certainly have known of it=2C and may have even worked= =0A= there. Given the number of experimental art musicians with a day job=2C he= =0A= may have even been a musique concrete practitioner himself. I've=0A= not been able to figure out who he was=2C with all the online material =0A= available. I made a ridiculously long short list by getting the name of =0A= every French sound engineer associated with ORTF around then (I was =0A= going to try to write to them)=2C but that wasn't much help as with the =0A= number of possible identifiable addresses for each name the line of =0A= research kind of petred out. So that's about it really. Who is that guy? Look at the extracts under the = sig. If=0A= anyone is interested in New York=2C Ken Dewey's archives for the period = =0A= are available to look in. It includes his accounts and correspondence=2C = =0A= so the name of the engineer might be in there http://archives.nypl.org/controlaccess/160584?term=3DRiley=2C%20Terry=2C%20= 1935- Alternatively anyone in Paris could inquire if employment or contractual re= cords at ORTF go back that far.=20 If=0A= there's anyone in the looping community looking for a research project =0A= for an honours or masters project in musicology it might be an =0A= intereting lead Of course someone may know who it is=2C but the name is nowhere on the =0A= internet and I am tired of seeing this blacksmith to the gods go without=0A= a name. ig ************************************************************************* Texts ************************************************************************* >From SF Tape Music Center by Berstein Riley:=0A= Ken got me into a small recording studio at the Sarah Bernhardt Theater=0A= in Paris. We took Chet Baker and his hand in. and I gave him some ideas=0A= about what to record. Mainly. I wanted him to play=2C a modal piece=2C and= =0A= they picked So What? by Miles Davis. I told them to play the solos =0A= separately=2C without the whole hand. So that I could cut it up and put it= =0A= back together later. And so this was the first project I=92d done in two = =0A= years. Up until that point I had not been in a studio. I had not had any=0A= equipment=2C nothing. So it was very exciting for me to finally hit =0A= something that I could put my teeth into and feel real exhilarated about=0A= working on. Bernstein: Was the studio part of the French National Radio? Riley:=0A= Yes=2C it was the French radio=2C but they had studios in different places= .=0A= It just happened to he the Sarah Bernhardt studio where we did the =0A= recording and used their studios for mixing. Bernstein: And they- showed you a way to do tape delay? Riley:=0A= Yes=2C the recording engineer . . . it was funny because I had Mescalin = =0A= Mix and the Echoplex loop in my mind. I think I first asked the =0A= engineer=2C =93Do you have an Echoplex?" and he said. "No.=94 So I said=2C = =93Well=0A= I want this kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a long loop=2C= =0A= and do you know how you can do that?" and he said=2C =93Oh=2C yes!" He =0A= stretched the tape between two tape recorders and voili! and I thought=2C = =0A= oh=2C this is incredible=2C exactly what I want. Bernstein: I really like the way you use tape delay in The Gift. Riley:=0A= I used some small tape loops=2C of course=2C and John Graham's voice. It = =0A= was interesting because I was working with an engineer who was a very =0A= straight guy in a white jacket=2C you know [laughs] who looks like he=92s = =0A= wearing a lab coat. I had to tell him what I was trying to do without =0A= having my hands on the machine=2C which is a little bit frustrating. But = =0A= it was so wonderful to have really high quality=2C even though in those =0A= days I guess it was mono=2C hut just to have these really high-quality =0A= machines to work with=2C where you really could hear what you were =0A= recording. Notes to the Gift by Riley The accumulation=0A= technique hadn=92t been invented yet and it got invented during this =0A= session. I was asking the engineer=2C describing to him the kind of sound I= =0A= had worked with in Mescalin Mix [an earlier tape composition]. I wanted=0A= this kind of long=2C repeated loop and I said =93can you create something = =0A= like that?=94 He got it by stringing the tape between two tape recorders = =0A= and feeding the signal from the second machine back to the first to =0A= recycle along with the new incoming signals. By varying the intensity of=0A= the feedback you could form the sound either into a single image =0A= without delay or increase the intensity until it became a dense chaotic =0A= kind of sound . . . The engineer was the first to create this technique =0A= that I know of. This began my obsession with time-lag accumulation =0A= feed-back. >From Terry Riley's In C by Robert Carl=20 "Ken =0A= rented an old chateau in the Valdoinois=2C south of Paris. All the actors = =0A= and everybody lived in it while the show was being put together. There =0A= was a big barn connected to the chateau. We rehearsed in the bam I'd =0A= come to the chateau at night and bring back the tapes I=92d been working = =0A= on. We'd listen to them=2C and the actors would try to get a sense of how = =0A= to relate to the music. Occasionally Chet and the band would come out to=0A= the chateau and we'd have a full rehearsal with everybody. Ken would =0A= watch the whole thing and would try to get the actors to interact more =0A= with the musicians=2C and try to get the musicians to be more involved =0A= with the action.=94 Riley decided to use his looping procedure as =0A= the basic compositional technique=2C returning to electronic media for the= =0A= first time in a couple of years. [...] Dewey had brought in a French =0A= technician from the National Radio (ORTF) to aid with the final mix=2C =0A= Riley describes what happened next: =93I described the effect [of echoing = =0A= similar to Mesealtn Mix] to the French engineer=2C a very straight guy in a= =0A= white coat=2C who fooled around and ended up hooking two tape recorders = =0A= together. Boy! When I heard that sound it was just what I wanted What =0A= you do is connect two tape recorders. The first one is playing back=2C the= =0A= second recording=2C the tape stretched across the heads of both. As this = =0A= machine records=2C it feeds back to the other machine=2C which plays back = =0A= what it=92s added. It keeps building up... =9454 What Riley had discovered = =0A= was a setup he would use for the next decade in solo performance=2C one of= =0A= the first major instances of interactive real-time electronic music. He=0A= called it the =93time-lag accumulator.=94 It allowed looping=2C but now wi= th =0A= the precise time interval between the initial sound and its echo=2C =0A= defined by the length of tape separating the playback from record heads.=0A= It also allowed for controlled layering of sounds=2C critically in real = =0A= time. By making the decision to also record the performers individually=2C= =0A= Riley created a rich inventory of materials that he could then combine =0A= and elaborate into an entirely new counterpoint.=20 = --_5a107ece-8eb2-461e-bcff-550d4f921ec7_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable
Sending again as the last one ha= d the wrong title so may be missed

Hi all

This is a longish p= ost because I'm posting text from sources at the end.

The=0A= "Fifth Business" of live looping is the anonymous French technician =0A= from Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemented Riley's desi= re =0A= for an Echoplex with a long delay as a pair of twinned machines with an =0A= cabled feedback.

Riley's genius was in conceiving of the utility=0A= of the long duration regenerative loop (he had worked with prerecorded =0A= long loops in Mescalin Mix)=2C and equally importanly=2C on its realisation= =2C=0A= he immediately knew what could be done with it in terms of performance -= =0A= he shifted from the idea of a cut-up version of Chet Baker's jazz to =0A= what we now know to be live-looping. That's what great artists do. Look =0A= what Matisse did with the idea of cutouts. And there's a certain wow =0A= emotion I think everyone here remembers getting the first time of =0A= becoming aware of the possibilities of Riley's "phantom band" in their =0A= own praxis.

But the anonymous French technician=2C he keeps on =0A= returning to my mind=2C about his identity - he wasn't surprised by the =0A= request (he hadn't heard of the Echoplex) but thought about it and =0A= presented a solution.

We know that for more than a decade =0A= previously the GRM under Schaeffer had been experimenting with such =0A= things as the Morphophone for experimenting with delays=2C and the amazing= =0A= tempophon with spinning heads that could do real time pitch shifting =0A= with heads that rotated in the same or opposite direction of the tape to=0A= make the apparent speed of the head at tape slower or faster for the =0A= same moment in time. Now if this anonymous engineer worked in Paris for =0A= ORTF=2C then he will certainly have known of it=2C and may have even worked= =0A= there. Given the number of experimental art musicians with a day job=2C he= =0A= may have even been a musique concrete practitioner himself.

I've=0A= not been able to figure out who he was=2C with all the online material =0A= available. I made a ridiculously long short list by getting the name of =0A= every French sound engineer associated with ORTF around then (I was =0A= going to try to write to them)=2C but that wasn't much help as with the =0A= number of possible identifiable addresses for each name the line of =0A= research kind of petred out.

So that's about it really. Who is that = guy? Look at the extracts under the sig.

If=0A= anyone is interested in New York=2C Ken Dewey's archives for the period = =0A= are available to look in. It includes his accounts and correspondence=2C = =0A= so the name of the engineer might be in there
http://archives.nypl.org/controlaccess/160584?term=3DRiley=2C%2= 0Terry=2C%201935-

Alternatively anyone in Paris could inquire if= employment or contractual records at ORTF go back that far.

If=0A= there's anyone in the looping community looking for a research project =0A= for an honours or masters project in musicology it might be an =0A= intereting lead

Of course someone may know who it is=2C but the name= is nowhere on the =0A= internet and I am tired of seeing this blacksmith to the gods go without=0A= a name.

ig


*********************************************= ****************************
Texts
**********************************= ***************************************

From SF Tape Music Center by= Berstein

Riley:=0A= Ken got me into a small recording studio at the Sarah Bernhardt Theater=0A= in Paris. We took Chet Baker and his hand in. and I gave him some ideas=0A= about what to record. Mainly. I wanted him to play=2C a modal piece=2C and= =0A= they picked So What? by Miles Davis. I told them to play the solos =0A= separately=2C without the whole hand. So that I could cut it up and put it= =0A= back together later. And so this was the first project I=92d done in two = =0A= years. Up until that point I had not been in a studio. I had not had any=0A= equipment=2C nothing. So it was very exciting for me to finally hit =0A= something that I could put my teeth into and feel real exhilarated about=0A= working on.

Bernstein: Was the studio part of the French National R= adio?

Riley:=0A= Yes=2C it was the French radio=2C but they had studios in different places= .=0A= It just happened to he the Sarah Bernhardt studio where we did the =0A= recording and used their studios for mixing.

Bernstein: And they- sh= owed you a way to do tape delay?

Riley:=0A= Yes=2C the recording engineer . . . it was funny because I had Mescalin = =0A= Mix and the Echoplex loop in my mind. I think I first asked the =0A= engineer=2C =93Do you have an Echoplex?" and he said. "No.=94 So I said=2C = =93Well=0A= I want this kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a long loop=2C= =0A= and do you know how you can do that?" and he said=2C =93Oh=2C yes!" He =0A= stretched the tape between two tape recorders and voili! and I thought=2C = =0A= oh=2C this is incredible=2C exactly what I want.

Bernstein: I really= like the way you use tape delay in The Gift.

Riley:=0A= I used some small tape loops=2C of course=2C and John Graham's voice. It = =0A= was interesting because I was working with an engineer who was a very =0A= straight guy in a white jacket=2C you know [laughs] who looks like he=92s = =0A= wearing a lab coat. I had to tell him what I was trying to do without =0A= having my hands on the machine=2C which is a little bit frustrating. But = =0A= it was so wonderful to have really high quality=2C even though in those =0A= days I guess it was mono=2C hut just to have these really high-quality =0A= machines to work with=2C where you really could hear what you were =0A= recording.



Notes to the Gift by Riley
The accumulation=0A= technique hadn=92t been invented yet and it got invented during this =0A= session. I was asking the engineer=2C describing to him the kind of sound I= =0A= had worked with in Mescalin Mix [an earlier tape composition]. I wanted=0A= this kind of long=2C repeated loop and I said =93can you create something = =0A= like that?=94 He got it by stringing the tape between two tape recorders = =0A= and feeding the signal from the second machine back to the first to =0A= recycle along with the new incoming signals. By varying the intensity of=0A= the feedback you could form the sound either into a single image =0A= without delay or increase the intensity until it became a dense chaotic =0A= kind of sound . . . The engineer was the first to create this technique =0A= that I know of. This began my obsession with time-lag accumulation =0A= feed-back.


From Terry Riley's In C by Robert Carl
"Ken =0A= rented an old chateau in the Valdoinois=2C south of Paris. All the actors = =0A= and everybody lived in it while the show was being put together. There =0A= was a big barn connected to the chateau. We rehearsed in the bam I'd =0A= come to the chateau at night and bring back the tapes I=92d been working = =0A= on. We'd listen to them=2C and the actors would try to get a sense of how = =0A= to relate to the music. Occasionally Chet and the band would come out to=0A= the chateau and we'd have a full rehearsal with everybody. Ken would =0A= watch the whole thing and would try to get the actors to interact more =0A= with the musicians=2C and try to get the musicians to be more involved =0A= with the action.=94

Riley decided to use his looping procedure as = =0A= the basic compositional technique=2C returning to electronic media for the= =0A= first time in a couple of years. [...] Dewey had brought in a French =0A= technician from the National Radio (ORTF) to aid with the final mix=2C =0A= Riley describes what happened next: =93I described the effect [of echoing = =0A= similar to Mesealtn Mix] to the French engineer=2C a very straight guy in a= =0A= white coat=2C who fooled around and ended up hooking two tape recorders = =0A= together. Boy! When I heard that sound it was just what I wanted What =0A= you do is connect two tape recorders. The first one is playing back=2C the= =0A= second recording=2C the tape stretched across the heads of both. As this = =0A= machine records=2C it feeds back to the other machine=2C which plays back = =0A= what it=92s added. It keeps building up... =9454 What Riley had discovered = =0A= was a setup he would use for the next decade in solo performance=2C one of= =0A= the first major instances of interactive real-time electronic music. He=0A= called it the =93time-lag accumulator.=94 It allowed looping=2C but now wi= th =0A= the precise time interval between the initial sound and its echo=2C =0A= defined by the length of tape separating the playback from record heads.=0A= It also allowed for controlled layering of sounds=2C critically in real = =0A= time. By making the decision to also record the performers individually=2C= =0A= Riley created a rich inventory of materials that he could then combine =0A= and elaborate into an entirely new counterpoint.






= --_5a107ece-8eb2-461e-bcff-550d4f921ec7_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 08:01:35 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 09CDC18355E; Sun, 26 Oct 2014 08:01:34 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <544CA990.6080302@cruzio.com> Date: Sun, 26 Oct 2014 00:58:08 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: "LOOPERS DELIGHT (posting)" Subject: Terry Rileys' mysterious French engineer tape loop innovator Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 8bit X-Antivirus: avast! (VPS 141025-1, 10/25/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123636 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 08:01:34 +0000 (UTC) *Am I the only one who things it's perhaps a bit dodgy that Terry Riley hasn't researched who this ** **mystery technician was to help him do his tape loops? He was there. He'd certainly know how to research the guy's name. **** **It seems to me that he needs almost equal credit for inventing the technique and I can't help but wonder ** **if Riley doesn't ever want his identity known for ego because he wants sole credit for the creation of this method of making music. **** **Am I just being too cynical and judgemental about this bit of history mystery?** **I'm honestly not sure if I am or not.** ** **I'd love your opinions.** ** **Rick Walker* IVODNE posted the following: Hi all This is a longish post because I'm posting text from sources at the end. The "Fifth Business" of live looping is the anonymous French technician from Radiodiffusion-Télévision Française who implemented Riley's desire for an Echoplex with a long delay as a pair of twinned machines with an cabled feedback. Riley's genius was in conceiving of the utility of the long duration regenerative loop (he had worked with prerecorded long loops in Mescalin Mix), and equally importanly, on its realisation, he immediately knew what could be done with it in terms of performance - he shifted from the idea of a cut-up version of Chet Baker's jazz to what we now know to be live-looping. That's what great artists do. Look what Matisse did with the idea of cutouts. And there's a certain wow emotion I think everyone here remembers getting the first time of becoming aware of the possibilities of Riley's "phantom band" in their own praxis. But the anonymous French technician, he keeps on returning to my mind, about his identity - he wasn't surprised by the request (he hadn't heard of the Echoplex) but thought about it and presented a solution. We know that for more than a decade previously the GRM under Schaeffer had been experimenting with such things as the Morphophone for experimenting with delays, and the amazing tempophon with spinning heads that could do real time pitch shifting with heads that rotated in the same or opposite direction of the tape to make the apparent speed of the head at tape slower or faster for the same moment in time. Now if this anonymous engineer worked in Paris for ORTF, then he will certainly have known of it, and may have even worked there. Given the number of experimental art musicians with a day job, he may have even been a musique concrete practitioner himself. I've not been able to figure out who he was, with all the online material available. I made a ridiculously long short list by getting the name of every French sound engineer associated with ORTF around then (I was going to try to write to them), but that wasn't much help as with the number of possible identifiable addresses for each name the line of research kind of petred out. So that's about it really. Who is that guy? Look at the extracts under the sig. If anyone is interested in New York, Ken Dewey's archives for the period are available to look in. It includes his accounts and correspondence, so the name of the engineer might be in there http://archives.nypl.org/controlaccess/160584?term=Riley,%20Terry,%201935- Alternatively anyone in Paris could inquire if employment or contractual records at ORTF go back that far. If there's anyone in the looping community looking for a research project for an honours or masters project in musicology it might be an intereting lead Of course someone may know who it is, but the name is nowhere on the internet and I am tired of seeing this blacksmith to the gods go without a name. ig ************************************************************************* Texts ************************************************************************* From SF Tape Music Center by Berstein Riley: Ken got me into a small recording studio at the Sarah Bernhardt Theater in Paris. We took Chet Baker and his hand in. and I gave him some ideas about what to record. Mainly. I wanted him to play, a modal piece, and they picked So What? by Miles Davis. I told them to play the solos separately, without the whole hand. So that I could cut it up and put it back together later. And so this was the first project I’d done in two years. Up until that point I had not been in a studio. I had not had any equipment, nothing. So it was very exciting for me to finally hit something that I could put my teeth into and feel real exhilarated about working on. Bernstein: Was the studio part of the French National Radio? Riley: Yes, it was the French radio, but they had studios in different places. It just happened to he the Sarah Bernhardt studio where we did the recording and used their studios for mixing. Bernstein: And they- showed you a way to do tape delay? Riley: Yes, the recording engineer . . . it was funny because I had Mescalin Mix and the Echoplex loop in my mind. I think I first asked the engineer, “Do you have an Echoplex?" and he said. "No.” So I said, “Well I want this kind of sound: RRRRRRRRrrrrrRRRRRR that’s got a long loop, and do you know how you can do that?" and he said, “Oh, yes!" He stretched the tape between two tape recorders and voili! and I thought, oh, this is incredible, exactly what I want. Bernstein: I really like the way you use tape delay in The Gift. Riley: I used some small tape loops, of course, and John Graham's voice. It was interesting because I was working with an engineer who was a very straight guy in a white jacket, you know [laughs] who looks like he’s wearing a lab coat. I had to tell him what I was trying to do without having my hands on the machine, which is a little bit frustrating. But it was so wonderful to have really high quality, even though in those days I guess it was mono, hut just to have these really high-quality machines to work with, where you really could hear what you were recording. Notes to the Gift by Riley The accumulation technique hadn’t been invented yet and it got invented during this session. I was asking the engineer, describing to him the kind of sound I had worked with in Mescalin Mix [an earlier tape composition]. I wanted this kind of long, repeated loop and I said “can you create something like that?” He got it by stringing the tape between two tape recorders and feeding the signal from the second machine back to the first to recycle along with the new incoming signals. By varying the intensity of the feedback you could form the sound either into a single image without delay or increase the intensity until it became a dense chaotic kind of sound . . . The engineer was the first to create this technique that I know of. This began my obsession with time-lag accumulation feed-back. From Terry Riley's In C by Robert Carl "Ken rented an old chateau in the Valdoinois, south of Paris. All the actors and everybody lived in it while the show was being put together. There was a big barn connected to the chateau. We rehearsed in the bam I'd come to the chateau at night and bring back the tapes I’d been working on. We'd listen to them, and the actors would try to get a sense of how to relate to the music. Occasionally Chet and the band would come out to the chateau and we'd have a full rehearsal with everybody. Ken would watch the whole thing and would try to get the actors to interact more with the musicians, and try to get the musicians to be more involved with the action.” Riley decided to use his looping procedure as the basic compositional technique, returning to electronic media for the first time in a couple of years. [...] Dewey had brought in a French technician from the National Radio (ORTF) to aid with the final mix, Riley describes what happened next: “I described the effect [of echoing similar to Mesealtn Mix] to the French engineer, a very straight guy in a white coat, who fooled around and ended up hooking two tape recorders together. Boy! When I heard that sound it was just what I wanted What you do is connect two tape recorders. The first one is playing back, the second recording, the tape stretched across the heads of both. As this machine records, it feeds back to the other machine, which plays back what it’s added. It keeps building up... ” What Riley had discovered was a setup he would use for the next decade in solo performance, one of the first major instances of interactive real-time electronic music. He called it the “time-lag accumulator.” It allowed looping, but now with the precise time interval between the initial sound and its echo, defined by the length of tape separating the playback from record heads. It also allowed for controlled layering of sounds, critically in real time. By making the decision to also record the performers individually, Riley created a rich inventory of materials that he could then combine and elaborate into an entirely new counterpoint. --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Sun Oct 26 08:11:08 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 76B93183560; Sun, 26 Oct 2014 08:11:08 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:content-transfer-encoding:thread-index :content-language; bh=4sTIkzT+lGR++WHxhwfNQwZPPboG1pu1FtsyRWCnXRk=; b=Ja/DuqM5fc3i0TTijkDox1iG2GF4NO4ocUs2mfay8OeEnM8WCBXVqiDqPWn8EVEWEe LYMD15vlBAGcBsKDDFgwnNe1sxsIrrcVigNyqOJs0XEO5WYQANUD5NzybdeA4Ba6b633 8aBYvuqRcP+xoDZpO8OPHVCUIzO5dKJwwMwhAGwCbmWT7vTC6hY/3oE+bD7Kl1YUkr8d 5WiWycqyIhSskFK9EhtUZgLgXmdHs73+7vDoXbf11Jgd2+b1OOOhOLyql+hHWZ4jPQpK Aqm9kcA+Vu7ejhB1ZrgtEDTx8eImyytINFcwGsiNjChDKs+zDr3pLfQmT1+o+LpThXCO A0sg== X-Received: by 10.66.187.209 with SMTP id fu17mr1863172pac.120.1414310854046; Sun, 26 Oct 2014 01:07:34 -0700 (PDT) From: "Diarmuid Pigott" To: References: <544CA990.6080302@cruzio.com> In-Reply-To: <544CA990.6080302@cruzio.com> Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Sun, 26 Oct 2014 16:07:26 +0800 Message-ID: <005d01cff0f3$e46d9620$ad48c260$@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQHB12I+EUcs6Ia/lAQ0MUaqY31FcpxeNokw Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123637 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 08:11:08 +0000 (UTC) It's been one of the Schroedinger's cat solutions in the box that is my thought here.=20 I bought the new release of Gift in the hopes that the liner notes would tell all, that he would expand on the story. "There was this guy, Claude...." I wrote him an email (Riley) asking about this a decade ago when I got = the set but I imagine he gets an awful lot of email and has to winnow them = out. A nicer interpretation that I cling to is that if the idea had been = brimming in his mind, then the facilitator would be negligible to him. And Riley = did something amazingly dramatically and unexpectedly beautiful with it. And = I owe him for that.=20 But thank you for going where I wouldn't let my thoughts go and enabling = the canvassing of opinion/collection of knowledge ig -----Original Message----- From: Rick Walker [mailto:looppool@cruzio.com]=20 Sent: Sunday, 26 October 2014 3:58 PM To: LOOPERS DELIGHT (posting) Subject: Terry Rileys' mysterious French engineer tape loop innovator *Am I the only one who things it's perhaps a bit dodgy that Terry Riley hasn't researched who this ** **mystery technician was to help him do = his tape loops? He was there.=20 He'd certainly know how to research the guy's name. **** **It seems to me that he needs almost equal credit for inventing the technique and I can't help but wonder ** **if Riley doesn't ever want = his identity known for ego because he wants sole credit for the creation of = this method of making music. **** **Am I just being too cynical and judgemental about this bit of history mystery?** **I'm honestly not sure if I am or not.** ** **I'd love your opinions.** ** **Rick Walker* IVODNE posted the following: Hi all This is a longish post because I'm posting text from sources at the end. The "Fifth Business" of live looping is the anonymous French technician = from Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemented Riley's desire = for an Echoplex with a long delay as a pair of twinned machines with an cabled feedback. Riley's genius was in conceiving of the utility of the long duration regenerative loop (he had worked with prerecorded long loops in Mescalin Mix), and equally importanly, on its realisation, he immediately knew = what could be done with it in terms of performance - he shifted from the idea = of a cut-up version of Chet Baker's jazz to what we now know to be live-looping. That's what great artists do. Look what Matisse did with = the idea of cutouts. And there's a certain wow emotion I think everyone here remembers getting the first time of becoming aware of the possibilities = of Riley's "phantom band" in their own praxis. But the anonymous French technician, he keeps on returning to my mind, = about his identity - he wasn't surprised by the request (he hadn't heard of = the Echoplex) but thought about it and presented a solution. We know that for more than a decade previously the GRM under Schaeffer = had been experimenting with such things as the Morphophone for experimenting with delays, and the amazing tempophon with spinning heads that could do real time pitch shifting with heads that rotated in the same or opposite direction of the tape to make the apparent speed of the head at tape = slower or faster for the same moment in time. Now if this anonymous engineer = worked in Paris for ORTF, then he will certainly have known of it, and may have even worked there. Given the number of experimental art musicians with a = day job, he may have even been a musique concrete practitioner himself. I've not been able to figure out who he was, with all the online = material available. I made a ridiculously long short list by getting the name of every French sound engineer associated with ORTF around then (I was = going to try to write to them), but that wasn't much help as with the number of possible identifiable addresses for each name the line of research kind = of petred out. So that's about it really. Who is that guy? Look at the extracts under = the sig. If anyone is interested in New York, Ken Dewey's archives for the period = are available to look in. It includes his accounts and correspondence, so = the name of the engineer might be in there http://archives.nypl.org/controlaccess/160584?term=3DRiley,%20Terry,%2019= 35- Alternatively anyone in Paris could inquire if employment or contractual records at ORTF go back that far. If there's anyone in the looping community looking for a research = project for an honours or masters project in musicology it might be an = intereting lead Of course someone may know who it is, but the name is nowhere on the internet and I am tired of seeing this blacksmith to the gods go without = a name. ig *************************************************************************= Texts *************************************************************************= From SF Tape Music Center by Berstein Riley: Ken got me into a small recording studio at the Sarah Bernhardt Theater in Paris. We took Chet Baker and his hand in. and I gave him = some ideas about what to record. Mainly. I wanted him to play, a modal piece, = and they picked So What? by Miles Davis. I told them to play the solos separately, without the whole hand. So that I could cut it up and put it back together later. And so this was the first project I=92d done in two years. Up until that point I had not been in a studio. I had not had any equipment, nothing. So it was very exciting for me to finally hit = something that I could put my teeth into and feel real exhilarated about working = on. Bernstein: Was the studio part of the French National Radio? Riley: Yes, it was the French radio, but they had studios in different places. It just happened to he the Sarah Bernhardt studio where we did = the recording and used their studios for mixing. Bernstein: And they- showed you a way to do tape delay? Riley: Yes, the recording engineer . . . it was funny because I had = Mescalin Mix and the Echoplex loop in my mind. I think I first asked the = engineer, =93Do you have an Echoplex?" and he said. "No.=94 So I said, =93Well I = want this kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a long loop, and do you = know how you can do that?" and he said, =93Oh, yes!" He stretched the tape = between two tape recorders and voili! and I thought, oh, this is incredible, = exactly what I want. Bernstein: I really like the way you use tape delay in The Gift. Riley: I used some small tape loops, of course, and John Graham's voice. = It was interesting because I was working with an engineer who was a very straight guy in a white jacket, you know [laughs] who looks like he=92s wearing a lab coat. I had to tell him what I was trying to do without = having my hands on the machine, which is a little bit frustrating. But it was = so wonderful to have really high quality, even though in those days I guess = it was mono, hut just to have these really high-quality machines to work = with, where you really could hear what you were recording. Notes to the Gift by Riley The accumulation technique hadn=92t been invented yet and it got = invented during this session. I was asking the engineer, describing to him the = kind of sound I had worked with in Mescalin Mix [an earlier tape = composition]. I wanted this kind of long, repeated loop and I said =93can you create = something like that?=94 He got it by stringing the tape between two tape recorders = and feeding the signal from the second machine back to the first to recycle along with the new incoming signals. By varying the intensity of the feedback you could form the sound either into a single image without = delay or increase the intensity until it became a dense chaotic kind of sound = . . . The engineer was the first to create this technique that I know of. = This began my obsession with time-lag accumulation feed-back. From Terry Riley's In C by Robert Carl "Ken rented an old chateau in the Valdoinois, south of Paris. All the = actors and everybody lived in it while the show was being put together.=20 There was a big barn connected to the chateau. We rehearsed in the bam = I'd come to the chateau at night and bring back the tapes I=92d been working = on. We'd listen to them, and the actors would try to get a sense of how to relate to the music. Occasionally Chet and the band would come out to = the chateau and we'd have a full rehearsal with everybody. Ken would watch = the whole thing and would try to get the actors to interact more with the musicians, and try to get the musicians to be more involved with the action.=94 Riley decided to use his looping procedure as the basic compositional technique, returning to electronic media for the first time in a couple = of years. [...] Dewey had brought in a French technician from the National Radio (ORTF) to aid with the final mix, Riley describes what happened = next: =93I described the effect [of echoing similar to Mesealtn Mix] to the = French engineer, a very straight guy in a white coat, who fooled around and = ended up hooking two tape recorders together. Boy!=20 When I heard that sound it was just what I wanted What you do is connect = two tape recorders. The first one is playing back, the second recording, the tape stretched across the heads of both. As this machine records, it = feeds back to the other machine, which plays back what it=92s added. It keeps building up... =94 What Riley had discovered was a setup he would use = for the next decade in solo performance, one of the first major instances of interactive real-time electronic music. He called it the =93time-lag accumulator.=94 It allowed looping, but now with the precise time = interval between the initial sound and its echo, defined by the length of tape separating the playback from record heads. It also allowed for = controlled layering of sounds, critically in real time. By making the decision to = also record the performers individually, Riley created a rich inventory of materials that he could then combine and elaborate into an entirely new counterpoint. --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Sun Oct 26 08:24:50 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id F04FD18355D; Sun, 26 Oct 2014 08:24:49 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [ZwnJijI0WIUJ+4W90DK3XGxxb/OUEnMq] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_84646799-c35f-4b02-a679-a26b58418619_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Sun, 26 Oct 2014 08:21:15 +0000 Importance: Normal In-Reply-To: <005d01cff0f3$e46d9620$ad48c260$@gmail.com> References: <544CA990.6080302@cruzio.com>,<005d01cff0f3$e46d9620$ad48c260$@gmail.com> MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 08:21:16.0381 (UTC) FILETIME=[CFF7C8D0:01CFF0F5] Resent-Message-ID: <8QTHDC.A.a8C.R_KTUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123638 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 08:24:49 +0000 (UTC) --_84646799-c35f-4b02-a679-a26b58418619_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Ultimately it HAS to be a matter of public record - someone got paid for wo= rk on a night somewhere=2C the money was paid by a publicly accountable com= pany=2C to someone who paid tax. It was done as a performance event for an intergovernmental agency=2C so th= ere would be records too And Ken Dewey kept records of everything as well So the truth is out there But the intellectual trickery that went into the time displacement was writ= ten up an built into the amazing schema that was Schaeffer's work. And there is no way that Riley wouldn't know "Out of the Silent Planet" But (always a but=2C hence my reluctance to raise the matter) the Aesthetic= of Schaeffer and the GRM was that of Acousmatic - sound without a performe= r=2C sound from a loudspeaker. Sound at a concert that had been prepared. S= o the anonymous engineer may have been as amazed by Riley's conception of t= he real-time implementation of the acousmatic practices. This wasn't a mat= ter of convenience=2C it was an article of modernist faith > From: diarmuidpigott@gmail.com > To: Loopers-Delight@loopers-delight.com > Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator > Date: Sun=2C 26 Oct 2014 16:07:26 +0800 >=20 > It's been one of the Schroedinger's cat solutions in the box that is my > thought here.=20 >=20 > I bought the new release of Gift in the hopes that the liner notes would > tell all=2C that he would expand on the story. > "There was this guy=2C Claude...." >=20 > I wrote him an email (Riley) asking about this a decade ago when I got th= e > set but I imagine he gets an awful lot of email and has to winnow them ou= t. >=20 > A nicer interpretation that I cling to is that if the idea had been brimm= ing > in his mind=2C then the facilitator would be negligible to him. And Riley= did > something amazingly dramatically and unexpectedly beautiful with it. And = I > owe him for that.=20 >=20 > But thank you for going where I wouldn't let my thoughts go and enabling = the > canvassing of opinion/collection of knowledge >=20 > ig >=20 >=20 >=20 >=20 > -----Original Message----- > From: Rick Walker [mailto:looppool@cruzio.com]=20 > Sent: Sunday=2C 26 October 2014 3:58 PM > To: LOOPERS DELIGHT (posting) > Subject: Terry Rileys' mysterious French engineer tape loop innovator >=20 > *Am I the only one who things it's perhaps a bit dodgy that Terry Riley > hasn't researched who this ** **mystery technician was to help him do his > tape loops? He was there.=20 > He'd certainly know how > to research the guy's name. > **** > **It seems to me that he needs almost equal credit for inventing the > technique and I can't help but wonder ** **if Riley doesn't ever want his > identity known for ego because he wants sole credit for the creation of t= his > method of making music. > **** > **Am I just being too cynical and judgemental about this bit of history > mystery?** > **I'm honestly not sure if I am or not.** > ** > **I'd love your opinions.** > ** > **Rick Walker* >=20 >=20 >=20 > IVODNE posted the following: >=20 > Hi all >=20 > This is a longish post because I'm posting text from sources at the end. >=20 > The "Fifth Business" of live looping is the anonymous French technician f= rom > Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemented Riley's desire = for an > Echoplex with a long delay as a pair of twinned machines with an cabled > feedback. >=20 > Riley's genius was in conceiving of the utility of the long duration > regenerative loop (he had worked with prerecorded long loops in Mescalin > Mix)=2C and equally importanly=2C on its realisation=2C he immediately kn= ew what > could be done with it in terms of performance - he shifted from the idea = of > a cut-up version of Chet Baker's jazz to what we now know to be > live-looping. That's what great artists do. Look what Matisse did with th= e > idea of cutouts. And there's a certain wow emotion I think everyone here > remembers getting the first time of becoming aware of the possibilities o= f > Riley's "phantom band" in their own praxis. >=20 > But the anonymous French technician=2C he keeps on returning to my mind= =2C about > his identity - he wasn't surprised by the request (he hadn't heard of the > Echoplex) but thought about it and presented a solution. >=20 > We know that for more than a decade previously the GRM under Schaeffer ha= d > been experimenting with such things as the Morphophone for experimenting > with delays=2C and the amazing tempophon with spinning heads that could d= o > real time pitch shifting with heads that rotated in the same or opposite > direction of the tape to make the apparent speed of the head at tape slow= er > or faster for the same moment in time. Now if this anonymous engineer wor= ked > in Paris for ORTF=2C then he will certainly have known of it=2C and may h= ave > even worked there. Given the number of experimental art musicians with a = day > job=2C he may have even been a musique concrete practitioner himself. >=20 > I've not been able to figure out who he was=2C with all the online materi= al > available. I made a ridiculously long short list by getting the name of > every French sound engineer associated with ORTF around then (I was going= to > try to write to them)=2C but that wasn't much help as with the number of > possible identifiable addresses for each name the line of research kind o= f > petred out. >=20 > So that's about it really. Who is that guy? Look at the extracts under th= e > sig. >=20 > If anyone is interested in New York=2C Ken Dewey's archives for the perio= d are > available to look in. It includes his accounts and correspondence=2C so t= he > name of the engineer might be in there > http://archives.nypl.org/controlaccess/160584?term=3DRiley=2C%20Terry=2C%= 201935- >=20 > Alternatively anyone in Paris could inquire if employment or contractual > records at ORTF go back that far. >=20 > If there's anyone in the looping community looking for a research project > for an honours or masters project in musicology it might be an intereting > lead >=20 > Of course someone may know who it is=2C but the name is nowhere on the > internet and I am tired of seeing this blacksmith to the gods go without = a > name. >=20 > ig >=20 >=20 > ************************************************************************* > Texts > ************************************************************************* >=20 > From SF Tape Music Center by Berstein >=20 > Riley: Ken got me into a small recording studio at the Sarah Bernhardt > Theater in Paris. We took Chet Baker and his hand in. and I gave him some > ideas about what to record. Mainly. I wanted him to play=2C a modal piece= =2C and > they picked So What? by Miles Davis. I told them to play the solos > separately=2C without the whole hand. So that I could cut it up and put i= t > back together later. And so this was the first project I=92d done in two > years. Up until that point I had not been in a studio. I had not had any > equipment=2C nothing. So it was very exciting for me to finally hit somet= hing > that I could put my teeth into and feel real exhilarated about working on= . >=20 > Bernstein: Was the studio part of the French National Radio? >=20 > Riley: Yes=2C it was the French radio=2C but they had studios in differen= t > places. It just happened to he the Sarah Bernhardt studio where we did th= e > recording and used their studios for mixing. >=20 > Bernstein: And they- showed you a way to do tape delay? >=20 > Riley: Yes=2C the recording engineer . . . it was funny because I had Mes= calin > Mix and the Echoplex loop in my mind. I think I first asked the engineer= =2C > =93Do you have an Echoplex?" and he said. "No.=94 So I said=2C =93Well I = want this > kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a long loop=2C and do you= know > how you can do that?" and he said=2C =93Oh=2C yes!" He stretched the tape= between > two tape recorders and voili! and I thought=2C oh=2C this is incredible= =2C exactly > what I want. >=20 > Bernstein: I really like the way you use tape delay in The Gift. >=20 > Riley: I used some small tape loops=2C of course=2C and John Graham's voi= ce.=20 > It was interesting because I was working with an engineer who was a very > straight guy in a white jacket=2C you know [laughs] who looks like he=92s > wearing a lab coat. I had to tell him what I was trying to do without hav= ing > my hands on the machine=2C which is a little bit frustrating. But it was = so > wonderful to have really high quality=2C even though in those days I gues= s it > was mono=2C hut just to have these really high-quality machines to work w= ith=2C > where you really could hear what you were recording. >=20 >=20 >=20 > Notes to the Gift by Riley > The accumulation technique hadn=92t been invented yet and it got invented > during this session. I was asking the engineer=2C describing to him the k= ind > of sound I had worked with in Mescalin Mix [an earlier tape composition].= I > wanted this kind of long=2C repeated loop and I said =93can you create so= mething > like that?=94 He got it by stringing the tape between two tape recorders = and > feeding the signal from the second machine back to the first to recycle > along with the new incoming signals. By varying the intensity of the > feedback you could form the sound either into a single image without dela= y > or increase the intensity until it became a dense chaotic kind of sound .= . > . The engineer was the first to create this technique that I know of. Thi= s > began my obsession with time-lag accumulation feed-back. >=20 >=20 > From Terry Riley's In C by Robert Carl >=20 > "Ken rented an old chateau in the Valdoinois=2C south of Paris. All the a= ctors > and everybody lived in it while the show was being put together.=20 > There was a big barn connected to the chateau. We rehearsed in the bam I'= d > come to the chateau at night and bring back the tapes I=92d been working = on. > We'd listen to them=2C and the actors would try to get a sense of how to > relate to the music. Occasionally Chet and the band would come out to the > chateau and we'd have a full rehearsal with everybody. Ken would watch th= e > whole thing and would try to get the actors to interact more with the > musicians=2C and try to get the musicians to be more involved with the > action.=94 >=20 > Riley decided to use his looping procedure as the basic compositional > technique=2C returning to electronic media for the first time in a couple= of > years. [...] Dewey had brought in a French technician from the National > Radio (ORTF) to aid with the final mix=2C Riley describes what happened n= ext: > =93I described the effect [of echoing similar to Mesealtn Mix] to the Fre= nch > engineer=2C a very straight guy in a white coat=2C who fooled around and = ended > up hooking two tape recorders together. Boy!=20 > When I heard that sound it was just what I wanted What you do is connect = two > tape recorders. The first one is playing back=2C the second recording=2C = the > tape stretched across the heads of both. As this machine records=2C it fe= eds > back to the other machine=2C which plays back what it=92s added. It keeps > building up... =94 What Riley had discovered was a setup he would use for= the > next decade in solo performance=2C one of the first major instances of > interactive real-time electronic music. He called it the =93time-lag > accumulator.=94 It allowed looping=2C but now with the precise time inter= val > between the initial sound and its echo=2C defined by the length of tape > separating the playback from record heads. It also allowed for controlled > layering of sounds=2C critically in real time. By making the decision to = also > record the performers individually=2C Riley created a rich inventory of > materials that he could then combine and elaborate into an entirely new > counterpoint. >=20 > --- > This email is free from viruses and malware because avast! Antivirus > protection is active. > http://www.avast.com >=20 >=20 = --_84646799-c35f-4b02-a679-a26b58418619_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable
Ultimately it HAS to be a matter= of public record - someone got paid for work on a night somewhere=2C the m= oney was paid by a publicly accountable company=2C to someone who paid tax.=

It was done as a performance event for an intergovernmental agency= =2C so there would be records too

And Ken Dewey kept records of ever= ything as well

So the truth is out there

But the intellectual= trickery that went into the time displacement was written up an built into= the amazing schema that was Schaeffer's work.

And there is no way t= hat Riley wouldn't know "Out of the Silent Planet"

But (always a but= =2C hence my reluctance to raise the matter) the Aesthetic of Schaeffer and= the GRM was that of Acousmatic - sound without a performer=2C sound from a= loudspeaker. Sound at a concert that had been prepared. So the anonymous e= ngineer may have been as amazed by Riley's conception of the real-time impl= ementation of the acousmatic practices. =3B This wasn't a matter of con= venience=2C it was an article of modernist faith



>=3B= From: diarmuidpigott@gmail.com
>=3B To: Loopers-Delight@loopers-delig= ht.com
>=3B Subject: RE: Terry Rileys' mysterious French engineer tape= loop innovator
>=3B Date: Sun=2C 26 Oct 2014 16:07:26 +0800
>=3B=
>=3B It's been one of the Schroedinger's cat solutions in the box th= at is my
>=3B thought here.
>=3B
>=3B I bought the new rel= ease of Gift in the hopes that the liner notes would
>=3B tell all=2C = that he would expand on the story.
>=3B "There was this guy=2C Claude.= ..."
>=3B
>=3B I wrote him an email (Riley) asking about this a = decade ago when I got the
>=3B set but I imagine he gets an awful lot = of email and has to winnow them out.
>=3B
>=3B A nicer interpret= ation that I cling to is that if the idea had been brimming
>=3B in hi= s mind=2C then the facilitator would be negligible to him. And Riley did>=3B something amazingly dramatically and unexpectedly beautiful with it= . And I
>=3B owe him for that.
>=3B
>=3B But thank you for= going where I wouldn't let my thoughts go and enabling the
>=3B canva= ssing of opinion/collection of knowledge
>=3B
>=3B ig
>=3B =
>=3B
>=3B
>=3B
>=3B -----Original Message-----
&= gt=3B From: Rick Walker [mailto:looppool@cruzio.com]
>=3B Sent: Sunda= y=2C 26 October 2014 3:58 PM
>=3B To: LOOPERS DELIGHT (posting)
>= =3B Subject: Terry Rileys' mysterious French engineer tape loop innovator>=3B
>=3B *Am I the only one who things it's perhaps a bit dodgy = that Terry Riley
>=3B hasn't researched who this ** **mystery technici= an was to help him do his
>=3B tape loops? He was there.
>=3B He= 'd certainly know how
>=3B to research the guy's name.
>=3B ****<= br>>=3B **It seems to me that he needs almost equal credit for inventing = the
>=3B technique and I can't help but wonder ** **if Riley doesn't e= ver want his
>=3B identity known for ego because he wants sole credit = for the creation of this
>=3B method of making music.
>=3B ****>=3B **Am I just being too cynical and judgemental about this bit of hi= story
>=3B mystery?**
>=3B **I'm honestly not sure if I am or not= .**
>=3B **
>=3B **I'd love your opinions.**
>=3B **
>= =3B **Rick Walker*
>=3B
>=3B
>=3B
>=3B IVODNE posted= the following:
>=3B
>=3B Hi all
>=3B
>=3B This is a = longish post because I'm posting text from sources at the end.
>=3B >=3B The "Fifth Business" of live looping is the anonymous French techn= ician from
>=3B Radiodiffusion-T=E9l=E9vision Fran=E7aise who implemen= ted Riley's desire for an
>=3B Echoplex with a long delay as a pair of= twinned machines with an cabled
>=3B feedback.
>=3B
>=3B R= iley's genius was in conceiving of the utility of the long duration
>= =3B regenerative loop (he had worked with prerecorded long loops in Mescali= n
>=3B Mix)=2C and equally importanly=2C on its realisation=2C he imme= diately knew what
>=3B could be done with it in terms of performance -= he shifted from the idea of
>=3B a cut-up version of Chet Baker's jaz= z to what we now know to be
>=3B live-looping. That's what great artis= ts do. Look what Matisse did with the
>=3B idea of cutouts. And there'= s a certain wow emotion I think everyone here
>=3B remembers getting t= he first time of becoming aware of the possibilities of
>=3B Riley's "= phantom band" in their own praxis.
>=3B
>=3B But the anonymous F= rench technician=2C he keeps on returning to my mind=2C about
>=3B his= identity - he wasn't surprised by the request (he hadn't heard of the
&= gt=3B Echoplex) but thought about it and presented a solution.
>=3B >=3B We know that for more than a decade previously the GRM under Schae= ffer had
>=3B been experimenting with such things as the Morphophone f= or experimenting
>=3B with delays=2C and the amazing tempophon with sp= inning heads that could do
>=3B real time pitch shifting with heads th= at rotated in the same or opposite
>=3B direction of the tape to make = the apparent speed of the head at tape slower
>=3B or faster for the s= ame moment in time. Now if this anonymous engineer worked
>=3B in Pari= s for ORTF=2C then he will certainly have known of it=2C and may have
&g= t=3B even worked there. Given the number of experimental art musicians with= a day
>=3B job=2C he may have even been a musique concrete practition= er himself.
>=3B
>=3B I've not been able to figure out who he wa= s=2C with all the online material
>=3B available. I made a ridiculousl= y long short list by getting the name of
>=3B every French sound engin= eer associated with ORTF around then (I was going to
>=3B try to write= to them)=2C but that wasn't much help as with the number of
>=3B poss= ible identifiable addresses for each name the line of research kind of
&= gt=3B petred out.
>=3B
>=3B So that's about it really. Who is th= at guy? Look at the extracts under the
>=3B sig.
>=3B
>=3B = If anyone is interested in New York=2C Ken Dewey's archives for the period = are
>=3B available to look in. It includes his accounts and correspond= ence=2C so the
>=3B name of the engineer might be in there
>=3B h= ttp://archives.nypl.org/controlaccess/160584?term=3DRiley=2C%20Terry=2C%201= 935-
>=3B
>=3B Alternatively anyone in Paris could inquire if em= ployment or contractual
>=3B records at ORTF go back that far.
>= =3B
>=3B If there's anyone in the looping community looking for a res= earch project
>=3B for an honours or masters project in musicology it = might be an intereting
>=3B lead
>=3B
>=3B Of course someon= e may know who it is=2C but the name is nowhere on the
>=3B internet a= nd I am tired of seeing this blacksmith to the gods go without a
>=3B = name.
>=3B
>=3B ig
>=3B
>=3B
>=3B *************= ************************************************************
>=3B Text= s
>=3B ***************************************************************= **********
>=3B
>=3B From SF Tape Music Center by Berstein
&= gt=3B
>=3B Riley: Ken got me into a small recording studio at the Sar= ah Bernhardt
>=3B Theater in Paris. We took Chet Baker and his hand in= . and I gave him some
>=3B ideas about what to record. Mainly. I wante= d him to play=2C a modal piece=2C and
>=3B they picked So What? by Mil= es Davis. I told them to play the solos
>=3B separately=2C without the= whole hand. So that I could cut it up and put it
>=3B back together l= ater. And so this was the first project I=92d done in two
>=3B years. = Up until that point I had not been in a studio. I had not had any
>=3B= equipment=2C nothing. So it was very exciting for me to finally hit someth= ing
>=3B that I could put my teeth into and feel real exhilarated abou= t working on.
>=3B
>=3B Bernstein: Was the studio part of the Fr= ench National Radio?
>=3B
>=3B Riley: Yes=2C it was the French r= adio=2C but they had studios in different
>=3B places. It just happene= d to he the Sarah Bernhardt studio where we did the
>=3B recording and= used their studios for mixing.
>=3B
>=3B Bernstein: And they- s= howed you a way to do tape delay?
>=3B
>=3B Riley: Yes=2C the re= cording engineer . . . it was funny because I had Mescalin
>=3B Mix an= d the Echoplex loop in my mind. I think I first asked the engineer=2C
&g= t=3B =93Do you have an Echoplex?" and he said. "No.=94 So I said=2C =93Well= I want this
>=3B kind of sound: RRRRRRRRrrrrrRRRRRR that=92s got a lo= ng loop=2C and do you know
>=3B how you can do that?" and he said=2C = =93Oh=2C yes!" He stretched the tape between
>=3B two tape recorders a= nd voili! and I thought=2C oh=2C this is incredible=2C exactly
>=3B wh= at I want.
>=3B
>=3B Bernstein: I really like the way you use ta= pe delay in The Gift.
>=3B
>=3B Riley: I used some small tape lo= ops=2C of course=2C and John Graham's voice.
>=3B It was interesting = because I was working with an engineer who was a very
>=3B straight gu= y in a white jacket=2C you know [laughs] who looks like he=92s
>=3B we= aring a lab coat. I had to tell him what I was trying to do without having<= br>>=3B my hands on the machine=2C which is a little bit frustrating. But= it was so
>=3B wonderful to have really high quality=2C even though i= n those days I guess it
>=3B was mono=2C hut just to have these really= high-quality machines to work with=2C
>=3B where you really could hea= r what you were recording.
>=3B
>=3B
>=3B
>=3B Notes= to the Gift by Riley
>=3B The accumulation technique hadn=92t been in= vented yet and it got invented
>=3B during this session. I was asking = the engineer=2C describing to him the kind
>=3B of sound I had worked = with in Mescalin Mix [an earlier tape composition]. I
>=3B wanted this= kind of long=2C repeated loop and I said =93can you create something
&g= t=3B like that?=94 He got it by stringing the tape between two tape recorde= rs and
>=3B feeding the signal from the second machine back to the fir= st to recycle
>=3B along with the new incoming signals. By varying the= intensity of the
>=3B feedback you could form the sound either into a= single image without delay
>=3B or increase the intensity until it be= came a dense chaotic kind of sound . .
>=3B . The engineer was the fir= st to create this technique that I know of. This
>=3B began my obsessi= on with time-lag accumulation feed-back.
>=3B
>=3B
>=3B F= rom Terry Riley's In C by Robert Carl
>=3B
>=3B "Ken rented an o= ld chateau in the Valdoinois=2C south of Paris. All the actors
>=3B an= d everybody lived in it while the show was being put together.
>=3B T= here was a big barn connected to the chateau. We rehearsed in the bam I'd>=3B come to the chateau at night and bring back the tapes I=92d been w= orking on.
>=3B We'd listen to them=2C and the actors would try to get= a sense of how to
>=3B relate to the music. Occasionally Chet and the= band would come out to the
>=3B chateau and we'd have a full rehearsa= l with everybody. Ken would watch the
>=3B whole thing and would try t= o get the actors to interact more with the
>=3B musicians=2C and try t= o get the musicians to be more involved with the
>=3B action.=94
&g= t=3B
>=3B Riley decided to use his looping procedure as the basic com= positional
>=3B technique=2C returning to electronic media for the fir= st time in a couple of
>=3B years. [...] Dewey had brought in a French= technician from the National
>=3B Radio (ORTF) to aid with the final = mix=2C Riley describes what happened next:
>=3B =93I described the eff= ect [of echoing similar to Mesealtn Mix] to the French
>=3B engineer= =2C a very straight guy in a white coat=2C who fooled around and ended
&= gt=3B up hooking two tape recorders together. Boy!
>=3B When I heard = that sound it was just what I wanted What you do is connect two
>=3B t= ape recorders. The first one is playing back=2C the second recording=2C the=
>=3B tape stretched across the heads of both. As this machine records= =2C it feeds
>=3B back to the other machine=2C which plays back what i= t=92s added. It keeps
>=3B building up... =94 What Riley had discovere= d was a setup he would use for the
>=3B next decade in solo performanc= e=2C one of the first major instances of
>=3B interactive real-time el= ectronic music. He called it the =93time-lag
>=3B accumulator.=94 It a= llowed looping=2C but now with the precise time interval
>=3B between = the initial sound and its echo=2C defined by the length of tape
>=3B s= eparating the playback from record heads. It also allowed for controlled>=3B layering of sounds=2C critically in real time. By making the decisi= on to also
>=3B record the performers individually=2C Riley created a = rich inventory of
>=3B materials that he could then combine and elabor= ate into an entirely new
>=3B counterpoint.
>=3B
>=3B --->=3B This email is free from viruses and malware because avast! Antivir= us
>=3B protection is active.
>=3B http://www.avast.com
>=3B=
>=3B
= --_84646799-c35f-4b02-a679-a26b58418619_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 11:24:23 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 56AA218355E; Sun, 26 Oct 2014 11:24:23 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-IronPort-Anti-Spam-Filtered: true X-IronPort-Anti-Spam-Result: AtECAL/XTFRPT43NPGdsb2JhbAANT4NiWI14vnyGeUoBCQKBGgEBBQEBAQE4hD4BAQIBAThABgsLIRYPCQMCAQIBMRQTCAEBiDQWslCUfwEBAQcCAR+RDxaENQWWT4h/mDlsgksBAQE X-IPAS-Result: AtECAL/XTFRPT43NPGdsb2JhbAANT4NiWI14vnyGeUoBCQKBGgEBBQEBAQE4hD4BAQIBAThABgsLIRYPCQMCAQIBMRQTCAEBiDQWslCUfwEBAQcCAR+RDxaENQWWT4h/mDlsgksBAQE X-IronPort-AV: E=Sophos;i="5.04,790,1406588400"; d="scan'208";a="474872713" Message-ID: <544CD955.2050708@tiscali.co.uk> Date: Sun, 26 Oct 2014 11:21:57 +0000 From: andy butler User-Agent: Mozilla/5.0 (Windows NT 6.3; WOW64; rv:24.0) Gecko/20100101 Thunderbird/24.1.0 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator References: <544CA990.6080302@cruzio.com> In-Reply-To: <544CA990.6080302@cruzio.com> Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123639 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 11:24:23 +0000 (UTC) On 26/10/2014 07:58, Rick Walker wrote: > credit for inventing the technique c.f. http://en.wikipedia.org/wiki/Solo_(Stockhausen) If Stockhausen was sketching a tape delay based composition in 1964, as related here, then it might be worth considering he was aware of the technique. andy ps don't forget this http://livelooping.org/researchpapers/geoffsmith/Chapter_4.pdf From Loopers-Delight-request@loopers-delight.com Sun Oct 26 11:38:36 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 04E5F18355C; Sun, 26 Oct 2014 11:38:35 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <544CDC5F.8000909@soundscapes.us> Date: Sun, 26 Oct 2014 07:34:55 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Galactic Travels Playlist #916 for October 23, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123640 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 11:38:35 +0000 (UTC) http://soundscapes.us/gt/playlists/2014/141023.html Galactic Travels is an electronic, ambient, and space music show, that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville and Trexlertown, and webcasting on the internet. Show #916 October 23, 2014. RECAP: On this show, I continued the month-long focus on Craig Padilla. The Featured CD at Midnight was LP1 from "Sonar" on Fruits de Mer Records. http://soundscapes.us/gt/playlists/2014/focus.html#oct PLAYLIST: 11:04 pm ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Kevin Braheny Starflight 1 * Galaxies (Hearts of Space) Robert Dorschel Empty Nest3x v2 Sketchy: Smudgy (none) Steve Roach and Procession of The Ancestor Circle (Projekt) Jorge Reyes Ancestors Tomas Weiss Foundation Zeitlos (Musical Philosophy) Modulator ESP Beyond the Event Beyond the Event Horizon (none) Horizon * 12:00 am ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Craig Padilla In Search of Sonar - LP1 (Fruits de Mer) Stranger Fish Craig Padilla Velvet Moon Sonar - LP1 (Fruits de Mer) Craig Padilla Cosmic Dawn Sonar - LP1 (Fruits de Mer) Craig Padilla Challenger Deep Sonar - LP1 (Fruits de Mer) Craig Padilla Behind the Sonar - LP1 (Fruits de Mer) Lightening Relativity Error Fogscape I * Mindscapes Volume 1 (Fox's Den) 1:00 am * = excerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist -- = Background music under interview NEXT SHOW: On the next Galactic Travels, I'll continue the month-long focus on Craig Padilla. The Featured CD at Midnight will be LP2 from "Sonar" on Fruits de Mer Records. WDIY Announcement: http://wdiy.org/post/next-galactic-travels-2014-10-30 Bill ========================================================================= Host of Galactic Travels, an electronic, ambient, and space music show, Thursdays at 11:04 pm on WDIY 88.1 FM in Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in Trexlertown and Fogelsville. Galactic Travels web site: http://galactictravels.info Listen to WDIY at http://wdiy.org/programs/galactic-travels on-line. Playlists are also published at http://billfox.blogspot.com ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ======================================================================== From Loopers-Delight-request@loopers-delight.com Sun Oct 26 12:05:16 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 3B346183560; Sun, 26 Oct 2014 12:05:16 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [jL4a46o7WYVpUABQRtKaQkloICzD8flp] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_a2ea18af-b687-4b9d-8f65-bbe741865f50_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Sun, 26 Oct 2014 12:01:42 +0000 Importance: Normal In-Reply-To: <544CD955.2050708@tiscali.co.uk> References: <544CA990.6080302@cruzio.com>,<544CD955.2050708@tiscali.co.uk> MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 12:01:42.0372 (UTC) FILETIME=[9B45DA40:01CFF114] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123641 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 12:05:16 +0000 (UTC) --_a2ea18af-b687-4b9d-8f65-bbe741865f50_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Very likely - the ORTF studio was set up in 1951=2C and the one in Koln in = 52. Stockhausen was getting tired of 12ing by 55=2C that gives a decade of = exposure to tape. But I can't find 1950s pieces by him as built from the ra= w using tape. The head shot used for Musical Quarterly's report on the 196= 0 I. S. C. M. Festival at Cologne by Peter Stadlen has him thoughtfully hol= ding a reel of tape with the leader hanging down (but not cutting it loopin= g it or splicing it=2C which are the standard tape action shots). More impo= rtantly he has his HANDS ON THE TAPE which no tape practitioner would ever = do - even if it was a piece he hated=2C it would get dirt on the capstan an= d transport. So I think he isn't really into it then. The stuff Schaeffer was putting out from the GRM was getting broadcast quit= e widely. Interestingly (to me anyway) the hidden heritage of all musique concrete is= the musical experiments of Gurdjieff=2C as Schaeffer was midway between an= afficianado and a disciple. Rude people have suggested his role at the GRM= was like Gurdjieffs at Fontainebleau - and the number of composers who wer= e his apprentices is astonishing. > Date: Sun=2C 26 Oct 2014 11:21:57 +0000 > From: akbutler@tiscali.co.uk > To: Loopers-Delight@loopers-delight.com > Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator >=20 >=20 >=20 > On 26/10/2014 07:58=2C Rick Walker wrote: >=20 > > credit for inventing the technique >=20 > c.f. >=20 > http://en.wikipedia.org/wiki/Solo_(Stockhausen) >=20 > If Stockhausen was sketching a tape delay based composition in 1964=2C > as related here=2C then it might be worth considering he was aware of the= technique. >=20 > andy > ps > don't forget this > http://livelooping.org/researchpapers/geoffsmith/Chapter_4.pdf >=20 >=20 >=20 >=20 >=20 >=20 >=20 = --_a2ea18af-b687-4b9d-8f65-bbe741865f50_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Very likely - the ORTF studio wa= s set up in 1951=2C and the one in Koln in 52. Stockhausen was getting tire= d of 12ing by 55=2C that gives a decade of exposure to tape. But I can't fi= nd 1950s pieces by him as built from the raw using tape. The head shot = =3B used for Musical Quarterly's report on the 1960 I. S. C. M. Festival at= Cologne by Peter Stadlen has him thoughtfully holding a reel of tape with = the leader hanging down (but not cutting it looping it or splicing it=2C wh= ich are the standard tape action shots). More importantly he has his HANDS = ON THE TAPE which no tape practitioner would ever do - even if it was a pie= ce he hated=2C it would get dirt on the capstan and transport. So I think h= e isn't really into it then.

The stuff Schaeffer was putting out fro= m the GRM was getting broadcast quite widely.

Interestingly (to me a= nyway) the hidden heritage of all musique concrete is the musical experimen= ts of Gurdjieff=2C as Schaeffer was midway between an afficianado and a dis= ciple. Rude people have suggested his role at the GRM was like Gurdjieffs a= t Fontainebleau - and the number of composers who were his apprentices is a= stonishing.

>=3B Date: Sun=2C 26 Oct 2014 11:21:57 +0000
&= gt=3B From: akbutler@tiscali.co.uk
>=3B To: Loopers-Delight@loopers-de= light.com
>=3B Subject: Re: Terry Rileys' mysterious French engineer t= ape loop innovator
>=3B
>=3B
>=3B
>=3B On 26/10/2014= 07:58=2C Rick Walker wrote:
>=3B
>=3B >=3B credit for inventi= ng the technique
>=3B
>=3B c.f.
>=3B
>=3B http://en.w= ikipedia.org/wiki/Solo_(Stockhausen)
>=3B
>=3B If Stockhausen wa= s sketching a tape delay based composition in 1964=2C
>=3B as related = here=2C then it might be worth considering he was aware of the technique.>=3B
>=3B andy
>=3B ps
>=3B don't forget this
>=3B= http://livelooping.org/researchpapers/geoffsmith/Chapter_4.pdf
>=3B <= br>>=3B
>=3B
>=3B
>=3B
>=3B
>=3B
=
= --_a2ea18af-b687-4b9d-8f65-bbe741865f50_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 12:10:03 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A77FE18355F; Sun, 26 Oct 2014 12:10:03 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [dV6Nfdn+W6EKbJicWk1dlkGelUsEdutJ] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_b1b99b5f-e871-431f-ad41-9ff1f53359cf_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Sun, 26 Oct 2014 12:06:29 +0000 Importance: Normal In-Reply-To: <544CD955.2050708@tiscali.co.uk> References: <544CA990.6080302@cruzio.com>,<544CD955.2050708@tiscali.co.uk> MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 12:06:29.0333 (UTC) FILETIME=[4650A050:01CFF115] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123642 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 12:10:03 +0000 (UTC) --_b1b99b5f-e871-431f-ad41-9ff1f53359cf_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable KarlHeinz brutalises tape in 1960=20 http://www.mediafire.com/view/980eh4f772901gh/KHSMistreatTape.png (also testing if you all can see images there) > Date: Sun=2C 26 Oct 2014 11:21:57 +0000 > From: akbutler@tiscali.co.uk > To: Loopers-Delight@loopers-delight.com > Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator >=20 >=20 >=20 > On 26/10/2014 07:58=2C Rick Walker wrote: >=20 > > credit for inventing the technique >=20 > c.f. >=20 > http://en.wikipedia.org/wiki/Solo_(Stockhausen) >=20 > If Stockhausen was sketching a tape delay based composition in 1964=2C > as related here=2C then it might be worth considering he was aware of the= technique. >=20 > andy > ps > don't forget this > http://livelooping.org/researchpapers/geoffsmith/Chapter_4.pdf >=20 >=20 >=20 >=20 >=20 >=20 >=20 = --_b1b99b5f-e871-431f-ad41-9ff1f53359cf_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
KarlHeinz brutalises tape in 196= 0
http://www.mediafire.com/view/980eh4f772901gh/KH= SMistreatTape.png

(also testing if you all can see images there)=

>=3B Date: Sun=2C 26 Oct 2014 11:21:57 +0000
>=3B From:= akbutler@tiscali.co.uk
>=3B To: Loopers-Delight@loopers-delight.com>=3B Subject: Re: Terry Rileys' mysterious French engineer tape loop in= novator
>=3B
>=3B
>=3B
>=3B On 26/10/2014 07:58=2C R= ick Walker wrote:
>=3B
>=3B >=3B credit for inventing the tech= nique
>=3B
>=3B c.f.
>=3B
>=3B http://en.wikipedia.or= g/wiki/Solo_(Stockhausen)
>=3B
>=3B If Stockhausen was sketching= a tape delay based composition in 1964=2C
>=3B as related here=2C the= n it might be worth considering he was aware of the technique.
>=3B >=3B andy
>=3B ps
>=3B don't forget this
>=3B http://liv= elooping.org/researchpapers/geoffsmith/Chapter_4.pdf
>=3B
>=3B <= br>>=3B
>=3B
>=3B
>=3B
>=3B
=
= --_b1b99b5f-e871-431f-ad41-9ff1f53359cf_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 12:38:58 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 1931018355C; Sun, 26 Oct 2014 12:38:58 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [DmT1zJubXypfJ4CnmU5wQdQ1ET9C7kaP] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_103206fc-3224-484c-b5b4-e7107537fc62_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: The nature of the original Time Lag Accumulator Date: Sun, 26 Oct 2014 12:35:23 +0000 Importance: Normal In-Reply-To: References: <544CA990.6080302@cruzio.com>,<005d01cff0f3$e46d9620$ad48c260$@gmail.com>,, MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 12:35:24.0249 (UTC) FILETIME=[5067CC90:01CFF119] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123643 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 12:38:58 +0000 (UTC) --_103206fc-3224-484c-b5b4-e7107537fc62_ Content-Type: text/plain; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Hi - I am sending this again as it was too long for the list serve (I chopp= ed of the balance) It's also interesting too that in my researches I found that the time-lag a= ccumulator term was first used as an expression for a physical space made f= or an the Magic Theatre Exhibition curated by Ralph Coe in 1968 - so the ac= cumulator in question may have been a punnish reference to the Reich Orgone= Accumulator. The first references to it are in 1968=2C and refer to a phys= ical construct. The construction of the room sounds similar (in the sense o= f sandwiched boxes) to the O.A. The book of the exhibition (which is a clas= sic of its type) has reference to Riley's performances but reserves the ter= m for the the artchitectural space. The human component live recorded was = part of Mescalin Mix. I can't find=0A= an earlier reference than here. But TLA is a great name for what he =0A= made. (I know that I sound like damning with faint praise here=2C I'm not= =2C=0A= I'm trying to unravel contemporary history) >From Coe's program notesThe=0A= "Time-Lag Accumulator" is closer in concept to his musical concepts =0A= than might be supposed at first. It includes the layering up of networks=0A= of sound ( though by unplanned voice participation rather than =0A= instrumentation)=2C repeats cyclically In=0A= his time-lag accumulator Terry Riley skims off the surface or =0A= conversational fragments (or anything whistled=2C screamed=2C sung=2C or = =0A= uttered) and asks us to study for an instant what is spoken=2C parlaying a= =0A= casual activity into reactivated consciousness If sound is used for =0A= =93portraiture" and wager in Jones's =93Sonic Games Room." here it is used = =0A= in another way. as =93history" =97 recent history repeating itself. There=0A= is a photo in the thing as well=2C but I don't have it any more. Someone = =0A= with access to interlibrary loans might be able to get it (hint hint). =0A= Quite amusing is the grumblings of the technicians"The Riley earned us more= problems than the rest of the exhibition combined. The biggest difficulty = with the Riley was in keeping the two modified tape recorders installed on = the top of this piece in working condition. The recorders . . . required a= lmost daily adjustment. A further problem with the Riley was the glass door= s. We had to replace four doors and one interior mirror. However=2C we had = larger g1ass holding clips made and installed=2C and believe that this prob= lem has been eliminated. We had two 110- volt circuits with this piece and = placed it first in the total exhibition as a means of controlling the influ= x of visitors. We further found that visitors had to be told what to do=2C = such as talk=2C yell or scream so that this exhibit would mean something to= them. Just prior to this piece we had a repeating tape of some of Terry Ri= ley's music with a sign explaining this." there's lots more in there. More text extracts below the stars=2C but it kind of looks like perhaps Ril= ey stumbled upon a cool term and used it afterwards in the sensu music - ce= rtainly it isn't on the cover of Reed Streams 1965=2C but it is on the cove= r of RICA featuring Poppy Nogood in 1969 - though in lower case this time. "Poppy Nogood and the Phantom Band =BB was first performed in the summer of= 1987=2C at two festivals=2C in Pennsylvania and Amaganaett=2C New York. Th= e work is played on the soprano saxophone and electric organ (both played b= y the composer=2C rerecordlng). A time-lag accumulator produces an echo of = variable size and duration." Food for Schroedinger's argumentative cat perhaps Regardless=2C RICA=2C PSD=2C RS are amongst my favourite moments of recorde= d time. And Riley has first siezure rights on the performative aspects of t= he technique=2C much as the first in every generation of compositional or p= erformative technique plays or composes pieces that appear obvious after th= e even=2C and make a kind of Bayesian exclusion zone of pretty things that = can no longer be done "because X did it" ************************************************ Time Magazine June 6th 1968=2C Vol. 91 Issue 23=2C p86. How =0A= about a trip that will dissolve the floors of memory and identity=2C =0A= becloud the boundaries separating reality and illusion=2C return the =0A= traveler momentarily to his primal=2C psychic self=97all without benefit of= =0A= hallucinogens? Such was the offer being made last week by Kansas City's =0A= Nelson-Atkins Gallery. To bring off the most spectacular environmental =0A= light show ever staged=2C the gallery had assembled $400=2C000 worth of =0A= materials and labor in its "Magic Theater=2C" a kind of transistorized =0A= tunnel of light designed by eight leading U.S. light=2C kinetics and =0A= environmental artists.[...] When they realized how silly they looked=2C they progressed to Terry Riley'= s Time-Lag Accumulator.=0A= There each viewer individually recorded laughs=2C hoots and remarks on a = =0A= tape in one of twelve anterooms. The tape was then played back =0A= simultaneously with tapes made by his companions in a central room=2C =0A= creating "a collage of noise." from a review in Art Scene 1968 "This was apparent with a series of aluminum frame doors which comprise a l= abrynth of antechambers. The musician=2C Terry Riley=2C had invented a "Tim= e-Lag Accumulator" where the spectator's voices became a patchwork of noise= later to be synthesized in a central chamber. On my visit nothing happened= . Later I was told that the tape loops needed almost daily cleaning. They h= ad jammed the day before. Such breakdowns - unknown to previous art - are t= he heritage of electro-mechanical art" in Artforum=2C Volume 7=2C Issue 2 1968 "I never did get the full effect of Terry Riley's Time Lag Accumulator=2C b= ecause the first time I ventured through it there were several dozen other= =2C equally crowded and confused=2C "participants" with me=2C and the secon= d time=2C alone=2C its recording was turned off=2C Basically it was a tall = glass and alumnium labyrinth=2C with twelve cubicles surrounding=2C and eac= h opening into=2C a central compartment. The outer cells contained micropho= nes which registered the words and sounds of those who (eyes glazed=2C arms= outstretched like robots seeking egress) passed through =97 these noises= =2C then=2C were recorded on tape and then replayed within two minutes in t= he inner chamber. Like Jones's sound chamber=2C the Accumulator had the lab= oratory mystique =97 a little human reactor=2C driven by a human mechanism.= I suppose there are potentials for humour and surprise in this contraption= =2C depending of course=2C on the willingness of its activators to be decei= ved=2C perhaps at their own expense. The explanation we are offered in the = program text =97 that that "Riley skims off the surface of the conversation= and asks us to study for an instant what was spoken=2C parlaying a casual = activity into reactivated consciousness=2C" won't fool anybody any more" South Dakota Review of a 1970 reinstauration of it In=0A= Terry Riley's Time-Lag Accumulator (1968)=2C like Jones's piece =0A= originally part of the Kansas City Nelson Gallery's "Magic Theater=2C" =0A= the sounds made by the spectators within the environment's space are =0A= recorded on tape and=2C thanks to several tape-delay systems of various =0A= lengths=2C played back at times varying up to two minutes later=3B so that = =0A= the space itself becomes a responsive but perversely irregular echo =0A= chamber that as Ralph T. Coe puts it=2C "skims off the surface of =0A= conversation and asks us to study for an instant what was spoken=2C =0A= parlaying a casual activity into reactivated consciousness. Interiors 1970 ditto One of the oeuvre's which ought to be fun is Terry Riley's "Time-Lag Accumu= lator=2C a kind of labyrinth of glass and aluminum phone-booth-like chamber= s in which the visitors pop in and out=2C listening to a "collage of sounds= " consisting of a scrambled replay of sounds made by themselves and precedi= ng visitors. The labyrinth itself suggests games like musical chairs = --_103206fc-3224-484c-b5b4-e7107537fc62_ Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable
Hi - I am sending this again as = it was too long for the list serve (I chopped of the balance)

<= div dir=3D"ltr">It's also interesting too that in my researches I found tha= t the time-lag accumulator term was first used as an expression for a physi= cal space made for an the Magic Theatre Exhibition curated by Ralph Coe in = 1968 - so the accumulator in question may have been a punnish reference to = the Reich Orgone Accumulator. The first references to it are in 1968=2C and= refer to a physical construct. The construction of the room sounds similar= (in the sense of sandwiched boxes) to the O.A. The book of the exhibition = (which is a classic of its type) has reference to Riley's performances but = reserves the term for the the artchitectural space. =3B The human compo= nent live recorded was part of Mescalin Mix. I can't find=0A= an earlier reference than here. But TLA is a great name for what he =0A= made. (I know that I sound like damning with faint praise here=2C I'm not= =2C=0A= I'm trying to unravel contemporary history)

From Coe's =3B program notes

= The=0A= "Time-Lag Accumulator" is closer in concept to his musical concepts =0A= than might be supposed at first. It includes the layering up of networks=0A= of sound ( though by unplanned voice participation rather than =0A= instrumentation)=2C repeats cyclically


In=0A= his time-lag accumulator Terry Riley skims off the surface or =0A= conversational fragments (or anything whistled=2C screamed=2C sung=2C or = =0A= uttered) and asks us to study for an instant what is spoken=2C parlaying a= =0A= casual activity into reactivated consciousness If sound is used for =0A= =93portraiture" and wager in Jones's =93Sonic Games Room." here it is used = =0A= in another way. as =93history" =97 recent history repeating itself.


There=0A= is a photo in the thing as well=2C but I don't have it any more. Someone = =0A= with access to interlibrary loans might be able to get it (hint hint). =0A= Quite amusing is the grumblings of the technicians

"The Riley earned us more problems than the rest of the exhibitio= n combined. The biggest difficulty with the Riley was in keeping the two mo= dified tape recorders installed on the top of this piece in working conditi= on. =3B The recorders . . . required almost daily adjustment. A further= problem with the Riley was the glass doors. We had to replace four doors a= nd one interior mirror. However=2C we had larger g1ass holding clips made a= nd installed=2C and believe that this problem has been eliminated. We had t= wo 110- volt circuits with this piece and placed it first in the total exhi= bition as a means of controlling the influx of visitors. We further found t= hat visitors had to be told what to do=2C such as talk=2C yell or scream so= that this exhibit would mean something to them. Just prior to this piece w= e had a repeating tape of some of Terry Riley's music with a sign explainin= g this."


there's lots more in there.

More text extracts b= elow the stars=2C but it kind of looks like perhaps Riley stumbled upon a c= ool term and used it afterwards in the sensu music - certainly it isn't on = the cover of Reed Streams 1965=2C but it is on the cover of RICA featuring = Poppy Nogood in 1969 - though in lower case this time.
"Poppy Nogood and= the Phantom Band =BB was first performed in the summer of 1987=2C at two f= estivals=2C in Pennsylvania and Amaganaett=2C New York. The work is played = on the soprano saxophone and electric organ (both played by the composer=2C= rerecordlng). A time-lag accumulator produces an echo of variable size and= duration."

Food for Schroedinger's argumentative cat perhaps
Regardless=2C RICA=2C PSD=2C RS are amongst my favourite moments of record= ed time. And Riley has first siezure rights on the performative aspects of = the technique=2C much as the first in every generation of compositional or = performative technique plays or composes pieces that appear obvious after t= he even=2C and make a kind of Bayesian exclusion zone of pretty things that= can no longer be done "because X did it"


************************************************


Time Magazine= June 6th 1968=2C Vol. 91 Issue 23=2C p86.

How =0A= about a trip that will dissolve the floors of memory and identity=2C =0A= becloud the boundaries separating reality and illusion=2C return the =0A= traveler momentarily to his primal=2C psychic self=97all without benefit of= =0A= hallucinogens? Such was the offer being made last week by Kansas City's =0A= Nelson-Atkins Gallery. To bring off the most spectacular environmental =0A= light show ever staged=2C the gallery had assembled $400=2C000 worth of =0A= materials and labor in its "Magic Theater=2C" a kind of transistorized =0A= tunnel of light designed by eight leading U.S. light=2C kinetics and =0A= environmental artists.

[...]
When they realized how silly they looked= =2C they progressed to Terry Riley's Time-Lag Accumulator.=0A= There each viewer individually recorded laughs=2C hoots and remarks on a = =0A= tape in one of twelve anterooms. The tape was then played back =0A= simultaneously with tapes made by his companions in a central room=2C =0A= creating "a collage of noise."



from a review in Art Scene 1968
"Th= is was apparent with a series of aluminum frame doors which comprise a labr= ynth of antechambers. The musician=2C Terry Riley=2C had invented a "Time-L= ag Accumulator" where the spectator's voices became a patchwork of noise la= ter to be synthesized in a central chamber. On my visit nothing happened. L= ater I was told that the tape loops needed almost daily cleaning. They had = jammed the day before. Such breakdowns - unknown to previous art - are the = heritage of electro-mechanical art"

in Artforum=2C Volume 7=2C Issue= 2 1968

"I never did get the full effect of Terry Riley's Time Lag A= ccumulator=2C because the first time I ventured through it there were sever= al dozen other=2C equally crowded and confused=2C "participants" with me=2C= and the second time=2C alone=2C its recording was turned off=2C Basically = it was a tall glass and alumnium labyrinth=2C with twelve cubicles surround= ing=2C and each opening into=2C a central compartment. The outer cells cont= ained microphones which registered the words and sounds of those who (eyes = glazed=2C arms outstretched like robots seeking egress) passed through =97 = these noises=2C then=2C were recorded on tape and then replayed within two = minutes in the inner chamber. Like Jones's sound chamber=2C the Accumulator= had the laboratory mystique =97 a little human reactor=2C driven by a huma= n mechanism. I suppose there are potentials for humour and surprise in this= contraption=2C depending of course=2C on the willingness of its activators= to be deceived=2C perhaps at their own expense. The explanation we are off= ered in the program text =97 that that "Riley skims off the surface of the = conversation and asks us to study for an instant what was spoken=2C parlayi= ng a casual activity into reactivated consciousness=2C" won't fool anybody = any more"


South Dakota Review of a 1970 reinstauration of it

In=0A= Terry Riley's Time-Lag Accumulator (1968)=2C like Jones's piece =0A= originally part of the Kansas City Nelson =3B Gallery's "Magic Theater= =2C" =0A= the sounds made by the spectators within the environment's space are =0A= recorded on tape and=2C thanks to several tape-delay systems of various =0A= lengths=2C played back at times varying up to two minutes later=3B so that = =0A= the space itself becomes a responsive but perversely irregular echo =0A= chamber that as Ralph T. Coe puts it=2C "skims off the surface of =0A= conversation and asks us to study for an instant what was spoken=2C =0A= parlaying a casual activity into reactivated consciousness.


Inte= riors 1970 ditto
One of the oeuvre's which ought to be fun is Terry Rile= y's "Time-Lag Accumulator=2C a kind of labyrinth of glass and aluminum phon= e-booth-like chambers in which the visitors pop in and out=2C listening to = a "collage of sounds" consisting of a scrambled replay of sounds made by th= emselves and preceding visitors. The labyrinth itself suggests games like m= usical chairs

= --_103206fc-3224-484c-b5b4-e7107537fc62_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 14:10:11 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 2C62C183558; Sun, 26 Oct 2014 14:10:11 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:thread-index:content-language; bh=9+h/PgE4wNhPXUR4+Dpo32iHA1WC3oitmd8WNcfSTVg=; b=MZX0BLPmgnXGvfyRPV6iCL5DVIEbB4l22Iu7JboOyZVTTxQc4Rrhka1V6WwM8CGGJ9 6MotAXDyc3D1aPRD89pEVFLnaUjgG6aR96EgowPBp2U03/551oChh/eT+qRlPjIhdYPh YmvK9JxXP53Pn6o9tDK0YSy0Plkv76wtcq6LxM4NGPZ5bkNK74pV/cjkZkoiDq4T5VDZ viYBerkwJ6B19zjnxkhCC8qEoFzEb0+61P9OJiUldIDkc6IiM9me1Z6SlJbjk7BrT/gH msFEEnvHfSSz/sUNG99cV+77QQlo3RHTUqhc3T0B6Hmd0jXUfjyp7DQRRc+kpkMXrxxV U3Ag== X-Received: by 10.68.225.99 with SMTP id rj3mr17892326pbc.97.1414332396120; Sun, 26 Oct 2014 07:06:36 -0700 (PDT) From: "Diarmuid Pigott" To: References: <544CA990.6080302@cruzio.com>,<005d01cff0f3$e46d9620$ad48c260$@gmail.com>,, In-Reply-To: Subject: RE: The nature of the original Time Lag Accumulator Date: Sun, 26 Oct 2014 22:06:27 +0800 Message-ID: <019201cff126$0c1e7e50$245b7af0$@gmail.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0193_01CFF169.1A462B20" X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQHB12I+EUcs6Ia/lAQ0MUaqY31FcgIZ3DDlAYZYNVcBomiFWgFUg/gznCniqdA= Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123644 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 14:10:11 +0000 (UTC) This is a multipart message in MIME format. ------=_NextPart_000_0193_01CFF169.1A462B20 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit Accumulator was the olde time word for battery - so the Orgone Accumulator was conceived of as being a receptacle for Orgone Ennergy by analogy with the voltaic accumulator etc. The idea was that as the plates of (e.g.) a Leyden jar would store something unknown (electricity, we now know) to release through cables, so the sandwiched materials of the Orgone Accumulator would supposedly store the mystical energy that pervaded the universe, to be released in activity by the person sitting in the box. So calling it (the installation) a "time-lag accumulator" is a pretty funny (in the sense of funny ha ha) thing to do, it implied that here was a battery for storing up and releasing time. So it's a technical rather than a general use of the word. It just tickles me. Delay as a device for storing time (rather than time) is an genius upside-down way of looking at it. From: Ivodne Galatea [mailto:takas20@hotmail.com] Sent: Sunday, 26 October 2014 8:35 PM To: Loopers-Delight@loopers-delight.com Subject: The nature of the original Time Lag Accumulator Hi - I am sending this again as it was too long for the list serve (I chopped of the balance) It's also interesting too that in my researches I found that the time-lag accumulator term was first used as an expression for a physical space made for an the Magic Theatre Exhibition curated by Ralph Coe in 1968 - so the accumulator in question may have been a punnish reference to the Reich Orgone Accumulator. The first references to it are in 1968, and refer to a physical construct. The construction of the room sounds similar (in the sense of sandwiched boxes) to the O.A. The book of the exhibition (which is a classic of its type) has reference to Riley's performances but reserves the term for the the artchitectural space. The human component live recorded was part of Mescalin Mix. I can't find an earlier reference than here. But TLA is a great name for what he made. (I know that I sound like damning with faint praise here, I'm not, I'm trying to unravel contemporary history) >From Coe's program notes The "Time-Lag Accumulator" is closer in concept to his musical concepts than might be supposed at first. It includes the layering up of networks of sound ( though by unplanned voice participation rather than instrumentation), repeats cyclically In his time-lag accumulator Terry Riley skims off the surface or conversational fragments (or anything whistled, screamed, sung, or uttered) and asks us to study for an instant what is spoken, parlaying a casual activity into reactivated consciousness If sound is used for "portraiture" and wager in Jones's "Sonic Games Room." here it is used in another way. as "history" - recent history repeating itself. There is a photo in the thing as well, but I don't have it any more. Someone with access to interlibrary loans might be able to get it (hint hint). Quite amusing is the grumblings of the technicians "The Riley earned us more problems than the rest of the exhibition combined. The biggest difficulty with the Riley was in keeping the two modified tape recorders installed on the top of this piece in working condition. The recorders . . . required almost daily adjustment. A further problem with the Riley was the glass doors. We had to replace four doors and one interior mirror. However, we had larger g1ass holding clips made and installed, and believe that this problem has been eliminated. We had two 110- volt circuits with this piece and placed it first in the total exhibition as a means of controlling the influx of visitors. We further found that visitors had to be told what to do, such as talk, yell or scream so that this exhibit would mean something to them. Just prior to this piece we had a repeating tape of some of Terry Riley's music with a sign explaining this." there's lots more in there. More text extracts below the stars, but it kind of looks like perhaps Riley stumbled upon a cool term and used it afterwards in the sensu music - certainly it isn't on the cover of Reed Streams 1965, but it is on the cover of RICA featuring Poppy Nogood in 1969 - though in lower case this time. "Poppy Nogood and the Phantom Band > was first performed in the summer of 1987, at two festivals, in Pennsylvania and Amaganaett, New York. The work is played on the soprano saxophone and electric organ (both played by the composer, rerecordlng). A time-lag accumulator produces an echo of variable size and duration." Food for Schroedinger's argumentative cat perhaps Regardless, RICA, PSD, RS are amongst my favourite moments of recorded time. And Riley has first siezure rights on the performative aspects of the technique, much as the first in every generation of compositional or performative technique plays or composes pieces that appear obvious after the even, and make a kind of Bayesian exclusion zone of pretty things that can no longer be done "because X did it" ************************************************ Time Magazine June 6th 1968, Vol. 91 Issue 23, p86. How about a trip that will dissolve the floors of memory and identity, becloud the boundaries separating reality and illusion, return the traveler momentarily to his primal, psychic self-all without benefit of hallucinogens? Such was the offer being made last week by Kansas City's Nelson-Atkins Gallery. To bring off the most spectacular environmental light show ever staged, the gallery had assembled $400,000 worth of materials and labor in its "Magic Theater," a kind of transistorized tunnel of light designed by eight leading U.S. light, kinetics and environmental artists. [...] When they realized how silly they looked, they progressed to Terry Riley's Time-Lag Accumulator. There each viewer individually recorded laughs, hoots and remarks on a tape in one of twelve anterooms. The tape was then played back simultaneously with tapes made by his companions in a central room, creating "a collage of noise." from a review in Art Scene 1968 "This was apparent with a series of aluminum frame doors which comprise a labrynth of antechambers. The musician, Terry Riley, had invented a "Time-Lag Accumulator" where the spectator's voices became a patchwork of noise later to be synthesized in a central chamber. On my visit nothing happened. Later I was told that the tape loops needed almost daily cleaning. They had jammed the day before. Such breakdowns - unknown to previous art - are the heritage of electro-mechanical art" in Artforum, Volume 7, Issue 2 1968 "I never did get the full effect of Terry Riley's Time Lag Accumulator, because the first time I ventured through it there were several dozen other, equally crowded and confused, "participants" with me, and the second time, alone, its recording was turned off, Basically it was a tall glass and alumnium labyrinth, with twelve cubicles surrounding, and each opening into, a central compartment. The outer cells contained microphones which registered the words and sounds of those who (eyes glazed, arms outstretched like robots seeking egress) passed through - these noises, then, were recorded on tape and then replayed within two minutes in the inner chamber. Like Jones's sound chamber, the Accumulator had the laboratory mystique - a little human reactor, driven by a human mechanism. I suppose there are potentials for humour and surprise in this contraption, depending of course, on the willingness of its activators to be deceived, perhaps at their own expense. The explanation we are offered in the program text - that that "Riley skims off the surface of the conversation and asks us to study for an instant what was spoken, parlaying a casual activity into reactivated consciousness," won't fool anybody any more" South Dakota Review of a 1970 reinstauration of it In Terry Riley's Time-Lag Accumulator (1968), like Jones's piece originally part of the Kansas City Nelson Gallery's "Magic Theater," the sounds made by the spectators within the environment's space are recorded on tape and, thanks to several tape-delay systems of various lengths, played back at times varying up to two minutes later; so that the space itself becomes a responsive but perversely irregular echo chamber that as Ralph T. Coe puts it, "skims off the surface of conversation and asks us to study for an instant what was spoken, parlaying a casual activity into reactivated consciousness. Interiors 1970 ditto One of the oeuvre's which ought to be fun is Terry Riley's "Time-Lag Accumulator, a kind of labyrinth of glass and aluminum phone-booth-like chambers in which the visitors pop in and out, listening to a "collage of sounds" consisting of a scrambled replay of sounds made by themselves and preceding visitors. The labyrinth itself suggests games like musical chairs ------=_NextPart_000_0193_01CFF169.1A462B20 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

Accumulator was the olde time word for = battery – so the Orgone Accumulator was conceived of as being a = receptacle for Orgone Ennergy by analogy with the voltaic accumulator = etc. The idea was that as the plates of (e.g.) a Leyden jar would store = something unknown (electricity, we now know) to release through cables, = so the sandwiched materials of the Orgone Accumulator would supposedly = store the mystical energy that pervaded the universe, to be released in = activity by the person sitting in the box.

 

So calling it (the installation) a = “time-lag accumulator” is a pretty funny (in the sense of = funny ha ha) thing to do, it implied that here was a battery for storing = up and releasing time.  So it’s a technical rather than a = general use of the word. It just tickles me. Delay as a device for = storing time (rather than time) is an genius upside-down way of looking = at it.

 

 

From:<= /b> Ivodne = Galatea [mailto:takas20@hotmail.com]
Sent: Sunday, 26 October = 2014 8:35 PM
To: = Loopers-Delight@loopers-delight.com
Subject: The nature of the = original Time Lag Accumulator

 

Hi - I am sending this again = as it was too long for the list serve (I chopped of the = balance)

It's also interesting too = that in my researches I found that the time-lag accumulator term was = first used as an expression for a physical space made for an the Magic = Theatre Exhibition curated by Ralph Coe in 1968 - so the accumulator in = question may have been a punnish reference to the Reich Orgone = Accumulator. The first references to it are in 1968, and refer to a = physical construct. The construction of the room sounds similar (in the = sense of sandwiched boxes) to the O.A. The book of the exhibition (which = is a classic of its type) has reference to Riley's performances but = reserves the term for the the artchitectural space.  The human = component live recorded was part of Mescalin Mix. I can't find an = earlier reference than here. But TLA is a great name for what he made. = (I know that I sound like damning with faint praise here, I'm not, I'm = trying to unravel contemporary history)

From = Coe's  program notes

The = "Time-Lag Accumulator" is closer in concept to his musical = concepts than might be supposed at first. It includes the layering up of = networks of sound ( though by unplanned voice participation rather than = instrumentation), repeats cyclically

 

In = his time-lag accumulator Terry Riley skims off the surface or = conversational fragments (or anything whistled, screamed, sung, or = uttered) and asks us to study for an instant what is spoken, parlaying a = casual activity into reactivated consciousness If sound is used for = “portraiture" and wager in Jones's “Sonic Games = Room." here it is used in another way. as “history" = — recent history repeating itself.

 

There is a photo in the thing = as well, but I don't have it any more. Someone with access to = interlibrary loans might be able to get it (hint hint). Quite amusing is = the grumblings of the technicians

"The Riley earned us = more problems than the rest of the exhibition combined. The biggest = difficulty with the Riley was in keeping the two modified tape recorders = installed on the top of this piece in working condition.  The = recorders . . . required almost daily adjustment. A further problem with = the Riley was the glass doors. We had to replace four doors and one = interior mirror. However, we had larger g1ass holding clips made and = installed, and believe that this problem has been eliminated. We had two = 110- volt circuits with this piece and placed it first in the total = exhibition as a means of controlling the influx of visitors. We further = found that visitors had to be told what to do, such as talk, yell or = scream so that this exhibit would mean something to them. Just prior to = this piece we had a repeating tape of some of Terry Riley's music with a = sign explaining this."


there's lots more in = there.

More text extracts below the stars, but it kind of looks = like perhaps Riley stumbled upon a cool term and used it afterwards in = the sensu music - certainly it isn't on the cover of Reed Streams 1965, = but it is on the cover of RICA featuring Poppy Nogood in 1969 - though = in lower case this time.
"Poppy Nogood and the Phantom Band = » was first performed in the summer of 1987, at two festivals, in = Pennsylvania and Amaganaett, New York. The work is played on the soprano = saxophone and electric organ (both played by the composer, rerecordlng). = A time-lag accumulator produces an echo of variable size and = duration."

Food for Schroedinger's argumentative cat = perhaps

Regardless, RICA, PSD, RS are amongst my favourite = moments of recorded time. And Riley has first siezure rights on the = performative aspects of the technique, much as the first in every = generation of compositional or performative technique plays or composes = pieces that appear obvious after the even, and make a kind of Bayesian = exclusion zone of pretty things that can no longer be done "because = X did it"

******************************= ******************

 

Time = Magazine June 6th 1968, Vol. 91 Issue 23, p86.

How = about a trip that will dissolve the floors of memory and identity, = becloud the boundaries separating reality and illusion, return the = traveler momentarily to his primal, psychic self—all without = benefit of hallucinogens? Such was the offer being made last week by = Kansas City's Nelson-Atkins Gallery. To bring off the most spectacular = environmental light show ever staged, the gallery had assembled $400,000 = worth of materials and labor in its "Magic Theater," a kind of = transistorized tunnel of light designed by eight leading U.S. light, = kinetics and environmental artists.

[...]
When they realized = how silly they looked, they progressed to Terry = Riley's = Time-Lag = Accumulator. = There each viewer individually recorded laughs, hoots and remarks on a = tape in one of twelve anterooms. The tape was then played back = simultaneously with tapes made by his companions in a central room, = creating "a collage of noise."

 

 

from = a review in Art Scene 1968
"This was apparent with a series of = aluminum frame doors which comprise a labrynth of antechambers. The = musician, Terry Riley, had invented a "Time-Lag Accumulator" = where the spectator's voices became a patchwork of noise later to be = synthesized in a central chamber. On my visit nothing happened. Later I = was told that the tape loops needed almost daily cleaning. They had = jammed the day before. Such breakdowns - unknown to previous art - are = the heritage of electro-mechanical art"

in Artforum, Volume = 7, Issue 2 1968

"I never did get the full effect of Terry = Riley's Time Lag Accumulator, because the first time I ventured through = it there were several dozen other, equally crowded and confused, = "participants" with me, and the second time, alone, its = recording was turned off, Basically it was a tall glass and alumnium = labyrinth, with twelve cubicles surrounding, and each opening into, a = central compartment. The outer cells contained microphones which = registered the words and sounds of those who (eyes glazed, arms = outstretched like robots seeking egress) passed through — these = noises, then, were recorded on tape and then replayed within two minutes = in the inner chamber. Like Jones's sound chamber, the Accumulator had = the laboratory mystique — a little human reactor, driven by a = human mechanism. I suppose there are potentials for humour and surprise = in this contraption, depending of course, on the willingness of its = activators to be deceived, perhaps at their own expense. The explanation = we are offered in the program text — that that "Riley skims = off the surface of the conversation and asks us to study for an instant = what was spoken, parlaying a casual activity into reactivated = consciousness," won't fool anybody any = more"

 

South Dakota Review of a 1970 = reinstauration of it

In Terry Riley's Time-Lag = Accumulator (1968), like Jones's piece originally part of the Kansas = City Nelson  Gallery's "Magic Theater," the sounds made = by the spectators within the environment's space are recorded on tape = and, thanks to several tape-delay systems of various lengths, played = back at times varying up to two minutes later; so that the space itself = becomes a responsive but perversely irregular echo chamber that as Ralph = T. Coe puts it, "skims off the surface of conversation and asks us = to study for an instant what was spoken, parlaying a casual activity = into reactivated consciousness.


Interiors 1970 = ditto
One of the oeuvre's which ought to be fun is Terry Riley's = "Time-Lag Accumulator, a kind of labyrinth of glass and aluminum = phone-booth-like chambers in which the visitors pop in and out, = listening to a "collage of sounds" consisting of a scrambled = replay of sounds made by themselves and preceding visitors. The = labyrinth itself suggests games like musical = chairs

------=_NextPart_000_0193_01CFF169.1A462B20-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 14:27:57 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id A93F318355D; Sun, 26 Oct 2014 14:27:57 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [ItgIQG2uMlcG/FMafh1IgfuhCXQEO+sV] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_7b439d27-6e1e-482f-8780-34bb956034af_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: A photo ! RE: The nature of the original Time Lag Accumulator Date: Sun, 26 Oct 2014 14:24:23 +0000 Importance: Normal In-Reply-To: References: <544CA990.6080302@cruzio.com>,<005d01cff0f3$e46d9620$ad48c260$@gmail.com>,,, MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 14:24:23.0811 (UTC) FILETIME=[8A49C530:01CFF128] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123645 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 14:27:57 +0000 (UTC) --_7b439d27-6e1e-482f-8780-34bb956034af_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable from the Art Journal - the full details and a picture! here is what the plan for the original (architectural) TLA looked like!=20 http://www.mediafire.com/view/xn7irl3tdlrddch/TLA_at_exhibit.jpg The Coe book I have lost had a photo with a girl in it accumulating time=20 And according to the article "The Magic Theater was commissioned to the Nelson Gallery-Atkins Museum by = the Performing Arts Foundation of Kansas City. The staff responsible for th= e exhibition was quite large=2C and was made up of Gallery staff and member= s from the community. This group was augmented by a great many volunteers w= ho helped realize this ambitious project. The entire project was under the = direction of Ralph T. Coe=2C Assistant Director of the Nelson Gallery-Atkin= s Museum=2C and he was assisted by D. Craig Craven=2C also of the museum st= aff. " earlier in the journal was the announcement "The Magic Theater=2C an avant-garde exhibition commissioned to the Nelson = Gallery of Art by the Performing Arts Foundation=2C opened May twenty-fifth= . It was the most complex and complicated exhibition of its type ever under= taken=2C and it will undoubtedly influence subsequent developments in envir= onmental and technologically-oriented art. It exploits to an unprecedented = degree a mixture of industrial media in eliciting mystical and even occult = mental responses on the part of the viewer. The Magic Theater represents a = unique collaboration between artist=2C engineer=2C and industry=2C because = all three are intimately involved in the conception and manufacturing of th= e exhibition. Great credit is due to the national and Kansas City industrie= s whose donations of materials and skill have made the Magic Theater possib= le. The main loan galleries of the Nelson Gallery (four in number) were con= verted into gigantic chambers of psychic art dominated by eight specially-c= ommissioned pieces from the following artists: Stephen Antonakos=2C Howard = Jones=2C Stanley Landsman=2C Boyd Mefferd=2C Terry Riley=2C Charles Ross=2C= James Seawright=2C and Robert Whitman." = --_7b439d27-6e1e-482f-8780-34bb956034af_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
from the Art Journal - the full = details and a picture!

here is what the plan for the original (archi= tectural) TLA looked like!

http://www.mediafire.com/view/xn7irl3tdl= rddch/TLA_at_exhibit.jpg

The Coe book I have lost had a photo with a= girl in it accumulating time

And according to the article

"= The Magic Theater was commissioned to the Nelson Gallery-Atkins Museum by t= he Performing Arts Foundation of Kansas City. The staff responsible for the= exhibition was quite large=2C and was made up of Gallery staff and members= from the community. This group was augmented by a great many volunteers wh= o helped realize this ambitious project. The entire project was under the d= irection of Ralph T. Coe=2C Assistant Director of the Nelson Gallery-Atkins= Museum=2C and he was assisted by D. Craig Craven=2C also of the museum sta= ff. "

earlier in the journal was the announcement
"The Magic Thea= ter=2C an avant-garde exhibition commissioned to the Nelson Gallery of Art = by the Performing Arts Foundation=2C opened May twenty-fifth. It was the mo= st complex and complicated exhibition of its type ever undertaken=2C and it= will undoubtedly influence subsequent developments in environmental and te= chnologically-oriented art. It exploits to an unprecedented degree a mixtur= e of industrial media in eliciting mystical and even occult mental response= s on the part of the viewer. The Magic Theater represents a unique collabor= ation between artist=2C engineer=2C and industry=2C because all three are i= ntimately involved in the conception and manufacturing of the exhibition. G= reat credit is due to the national and Kansas City industries whose donatio= ns of materials and skill have made the Magic Theater possible. The main lo= an galleries of the Nelson Gallery (four in number) were converted into gig= antic chambers of psychic art dominated by eight specially-commissioned pie= ces from the following artists: Stephen Antonakos=2C Howard Jones=2C Stanle= y Landsman=2C Boyd Mefferd=2C Terry Riley=2C Charles Ross=2C James Seawrigh= t=2C and Robert Whitman."


= --_7b439d27-6e1e-482f-8780-34bb956034af_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 14:36:34 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id F2F7518355D; Sun, 26 Oct 2014 14:36:33 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-IronPort-Anti-Spam-Filtered: true X-IronPort-Anti-Spam-Result: AlkCADQFTVRPT43NPGdsb2JhbAANT4NiWI14vn2HTQKBGgEBBQEBAQE4hD4BAQQ4OAgRCxgJFg8JAwIBAgExFBMIAQGISrJElQABAQEHAQEBAQEdkQ8WhDUFj2moHmwBgkoBAQE X-IPAS-Result: AlkCADQFTVRPT43NPGdsb2JhbAANT4NiWI14vn2HTQKBGgEBBQEBAQE4hD4BAQQ4OAgRCxgJFg8JAwIBAgExFBMIAQGISrJElQABAQEHAQEBAQEdkQ8WhDUFj2moHmwBgkoBAQE X-IronPort-AV: E=Sophos;i="5.04,790,1406588400"; d="scan'208";a="574095800" Message-ID: <544D0660.9040306@tiscali.co.uk> Date: Sun, 26 Oct 2014 14:34:08 +0000 From: andy butler User-Agent: Mozilla/5.0 (Windows NT 6.3; WOW64; rv:24.0) Gecko/20100101 Thunderbird/24.1.0 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator References: <544CA990.6080302@cruzio.com>,<544CD955.2050708@tiscali.co.uk> In-Reply-To: Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123646 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 14:36:33 +0000 (UTC) On 26/10/2014 12:06, Ivodne Galatea wrote: > KarlHeinz brutalises tape in 1960 > http://www.mediafire.com/view/980eh4f772901gh/KHSMistreatTape.png > > (also testing if you all can see images there) yes I see it. Have to confess I "touched the tape" a few times myself, so I'm not convinced that such a crime indicates a lack of involvement with the medium. :-) andy From Loopers-Delight-request@loopers-delight.com Sun Oct 26 14:41:54 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id B129018355C; Sun, 26 Oct 2014 14:41:54 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [rEPVgpKE+q0HqlB+KOnRND6Vim+ZS31b] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_1ea5b302-a77b-4e2e-82a8-67c86aa048b0_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Sun, 26 Oct 2014 14:38:20 +0000 Importance: Normal In-Reply-To: <544D0660.9040306@tiscali.co.uk> References: <544CA990.6080302@cruzio.com>,<544CD955.2050708@tiscali.co.uk> ,<544D0660.9040306@tiscali.co.uk> MIME-Version: 1.0 X-OriginalArrivalTime: 26 Oct 2014 14:38:21.0013 (UTC) FILETIME=[7D4CA850:01CFF12A] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123647 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 14:41:54 +0000 (UTC) --_1ea5b302-a77b-4e2e-82a8-67c86aa048b0_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Yes=2C we've all done that=2C but I was being unclear. I'm never very clear=2C sorry. I meant that he was posing with it to show t= he world he was cool with tape=2C and he held it in a way wher ethe leader = would touch the furniture=2C floor=2C table=2C and where his hands were all= over it. It strikes me like those period pieces on tellie=2C when the chau= ffeur (who would have opened the car door for her ladyship hundreds of time= s goes for the wrong side and there's a 2 second beat before the door opens= . Shows a lack of familiarity. But (as the other person in the room just re= marked) I may be over-thinking this! Thanks for notifying - I've posted a picture of the TLA > Date: Sun=2C 26 Oct 2014 14:34:08 +0000 > From: akbutler@tiscali.co.uk > To: Loopers-Delight@loopers-delight.com > Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator >=20 >=20 >=20 > On 26/10/2014 12:06=2C Ivodne Galatea wrote: > > KarlHeinz brutalises tape in 1960 > > http://www.mediafire.com/view/980eh4f772901gh/KHSMistreatTape.png > > > > (also testing if you all can see images there) >=20 > yes I see it. >=20 > Have to confess I "touched the tape" a few times myself=2C > so I'm not convinced that such a crime indicates a lack > of involvement with the medium. :-) >=20 > andy >=20 = --_1ea5b302-a77b-4e2e-82a8-67c86aa048b0_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Yes=2C we've all done that=2C bu= t I was being unclear.

I'm never very clear=2C sorry. I meant that h= e was posing with it to show the world he was cool with tape=2C and he held= it in a way wher ethe leader would touch the furniture=2C floor=2C table= =2C and where his hands were all over it. It strikes me like those period p= ieces on tellie=2C when the chauffeur (who would have opened the car door f= or her ladyship hundreds of times goes for the wrong side and there's a 2 s= econd beat before the door opens. Shows a lack of familiarity. But (as the = other person in the room just remarked) I may be over-thinking this!
Thanks for notifying - I've posted a picture of the TLA

>=3B= Date: Sun=2C 26 Oct 2014 14:34:08 +0000
>=3B From: akbutler@tiscali.c= o.uk
>=3B To: Loopers-Delight@loopers-delight.com
>=3B Subject: R= e: Terry Rileys' mysterious French engineer tape loop innovator
>=3B <= br>>=3B
>=3B
>=3B On 26/10/2014 12:06=2C Ivodne Galatea wrote= :
>=3B >=3B KarlHeinz brutalises tape in 1960
>=3B >=3B http:= //www.mediafire.com/view/980eh4f772901gh/KHSMistreatTape.png
>=3B >= =3B
>=3B >=3B (also testing if you all can see images there)
>= =3B
>=3B yes I see it.
>=3B
>=3B Have to confess I "touche= d the tape" a few times myself=2C
>=3B so I'm not convinced that such = a crime indicates a lack
>=3B of involvement with the medium. :-)
&= gt=3B
>=3B andy
>=3B
= --_1ea5b302-a77b-4e2e-82a8-67c86aa048b0_-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 14:43:48 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 9915218355E; Sun, 26 Oct 2014 14:43:48 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:thread-index:content-language; bh=Z/dSinlgesNl/cffwLbQYi04oY98dmlkjP1f1nPshNE=; b=EX944/bO/TomRJpeziLSQLNzlsUyj16F815Lay3isQjDIi+UxFUlk8hMXbiC0PpKBl 8oo07FtKmtRGBmkRUCP3TdQlQokKAMht/IEkk/QE6WBp77HwDyXIyqqaEAI4Pmnxi2AH G3PmpUtqG2PbgkPhq1YiuBvzLx65Xv0lC+QznbZnoC8i/dm1LJD7PuErveoxPEClqvyO yJTRlfpuO4EY/PeRE6fBKwFwUY7rEPDB+73VR8MMmbUoVC5NcaHwc6inKdF0M46+haK1 J6HyEblAIyKcscgcol5J/mz+NAh6L0klTTmA++WipPEsim584PWyhQk3I9pnwvVn3p7o y9ig== X-Received: by 10.68.112.193 with SMTP id is1mr18139090pbb.35.1414334414376; Sun, 26 Oct 2014 07:40:14 -0700 (PDT) From: "Diarmuid Pigott" To: References: <544CA990.6080302@cruzio.com>,<005d01cff0f3$e46d9620$ad48c260$@gmail.com>,,, In-Reply-To: Subject: RE: A photo ! RE: The nature of the original Time Lag Accumulator Date: Sun, 26 Oct 2014 22:40:05 +0800 Message-ID: <019d01cff12a$bed1ba90$3c752fb0$@gmail.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_019E_01CFF16D.CCF5E4F0" X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQHB12I+EUcs6Ia/lAQ0MUaqY31FcgIZ3DDlAYZYNVcBomiFWgFUg/gzAdF6TK6cG2GIIA== Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123648 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 14:43:48 +0000 (UTC) This is a multipart message in MIME format. ------=_NextPart_000_019E_01CFF16D.CCF5E4F0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit An awesome if expensive thing to do for a loopfest would be to have an original TLA in a room, and have people process through it improvising. I wonderful how difficult that would be From: Ivodne Galatea [mailto:takas20@hotmail.com] Sent: Sunday, 26 October 2014 10:24 PM To: Loopers-Delight@loopers-delight.com Subject: A photo ! RE: The nature of the original Time Lag Accumulator from the Art Journal - the full details and a picture! here is what the plan for the original (architectural) TLA looked like! http://www.mediafire.com/view/xn7irl3tdlrddch/TLA_at_exhibit.jpg The Coe book I have lost had a photo with a girl in it accumulating time And according to the article "The Magic Theater was commissioned to the Nelson Gallery-Atkins Museum by the Performing Arts Foundation of Kansas City. The staff responsible for the exhibition was quite large, and was made up of Gallery staff and members from the community. This group was augmented by a great many volunteers who helped realize this ambitious project. The entire project was under the direction of Ralph T. Coe, Assistant Director of the Nelson Gallery-Atkins Museum, and he was assisted by D. Craig Craven, also of the museum staff. " earlier in the journal was the announcement "The Magic Theater, an avant-garde exhibition commissioned to the Nelson Gallery of Art by the Performing Arts Foundation, opened May twenty-fifth. It was the most complex and complicated exhibition of its type ever undertaken, and it will undoubtedly influence subsequent developments in environmental and technologically-oriented art. It exploits to an unprecedented degree a mixture of industrial media in eliciting mystical and even occult mental responses on the part of the viewer. The Magic Theater represents a unique collaboration between artist, engineer, and industry, because all three are intimately involved in the conception and manufacturing of the exhibition. Great credit is due to the national and Kansas City industries whose donations of materials and skill have made the Magic Theater possible. The main loan galleries of the Nelson Gallery (four in number) were converted into gigantic chambers of psychic art dominated by eight specially-commissioned pieces from the following artists: Stephen Antonakos, Howard Jones, Stanley Landsman, Boyd Mefferd, Terry Riley, Charles Ross, James Seawright, and Robert Whitman." ------=_NextPart_000_019E_01CFF16D.CCF5E4F0 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

An awesome if expensive thing to do for a = loopfest would be to have an original TLA in a room, and have people = process through it improvising. I wonderful how difficult that would = be

 

From:<= /b> Ivodne = Galatea [mailto:takas20@hotmail.com]
Sent: Sunday, 26 October = 2014 10:24 PM
To: = Loopers-Delight@loopers-delight.com
Subject: A photo ! RE: The = nature of the original Time Lag = Accumulator

 

from the Art Journal - the = full details and a picture!

here is what the plan for the = original (architectural) TLA looked like!

http://www.mediafire.com/view/xn7irl3tdlrddch/TLA_at_exhibit.jpg
=
The Coe book I have lost had a photo with a girl in it accumulating = time

And according to the article

"The Magic Theater = was commissioned to the Nelson Gallery-Atkins Museum by the Performing = Arts Foundation of Kansas City. The staff responsible for the exhibition = was quite large, and was made up of Gallery staff and members from the = community. This group was augmented by a great many volunteers who = helped realize this ambitious project. The entire project was under the = direction of Ralph T. Coe, Assistant Director of the Nelson = Gallery-Atkins Museum, and he was assisted by D. Craig Craven, also of = the museum staff. "

earlier in the journal was the = announcement
"The Magic Theater, an avant-garde exhibition = commissioned to the Nelson Gallery of Art by the Performing Arts = Foundation, opened May twenty-fifth. It was the most complex and = complicated exhibition of its type ever undertaken, and it will = undoubtedly influence subsequent developments in environmental and = technologically-oriented art. It exploits to an unprecedented degree a = mixture of industrial media in eliciting mystical and even occult mental = responses on the part of the viewer. The Magic Theater represents a = unique collaboration between artist, engineer, and industry, because all = three are intimately involved in the conception and manufacturing of the = exhibition. Great credit is due to the national and Kansas City = industries whose donations of materials and skill have made the Magic = Theater possible. The main loan galleries of the Nelson Gallery (four in = number) were converted into gigantic chambers of psychic art dominated = by eight specially-commissioned pieces from the following artists: = Stephen Antonakos, Howard Jones, Stanley Landsman, Boyd Mefferd, Terry = Riley, Charles Ross, James Seawright, and Robert = Whitman."

------=_NextPart_000_019E_01CFF16D.CCF5E4F0-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 18:40:05 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 222E318355C; Sun, 26 Oct 2014 18:40:05 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <544D3F27.4070705@cruzio.com> Date: Sun, 26 Oct 2014 11:36:23 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: RE: The nature of the original Time Lag Accumulator References: <20141026143634.1A957183565@arsenic.violacea.com> In-Reply-To: <20141026143634.1A957183565@arsenic.violacea.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit X-Antivirus: avast! (VPS 141025-1, 10/25/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: <_euVT.A.lnB.EAUTUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123649 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 18:40:05 +0000 (UTC) Diarmuid Pigott wrote: > > Accumulator was the olde time word for battery. > > > This is a fascinating discussion and it also made me laugh at an > improper use of the term > This is a fascinating discussion and it also made me laugh at potential misuse of that word: "Apparently, the burglar was charged with 'ASSAULT and ACCUMULATION'" I think I'm going to title a piece Assault and Accumulation. to go along with a bad pun we used to used to title a piece when I was doing a lot of Brazilian percussion............ot was ca;;ed called 'Assaulte e Bateria'. Thanks for the semantic history, Darmuid! --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Sun Oct 26 18:55:45 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id EA9B718355D; Sun, 26 Oct 2014 18:55:45 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <544D42D5.3010702@cruzio.com> Date: Sun, 26 Oct 2014 11:52:05 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: "LOOPERS DELIGHT (posting)" Subject: The Historic and Aesthetic Origins of Live Looping Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit X-Antivirus: avast! (VPS 141025-1, 10/25/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123650 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 18:55:45 +0000 (UTC) Maybe it's cutting to fine a distinction, but because of our own involvement with live looping, Terry Riley's work with the Time Lag Accumulator technique is a lot more interesting to me as an historic origin of our movement than Stockhausen's use of tape delay in the formation of Musique Concrete. Because tape delays' extension to the dedicated creation of long tape loops with the Time Lag Accumlator is analagous to digital delays extension to create the first dedicated digital loopers, we can say that Terry Riley (with the assistance of his mysterious french audio engineer) is the Birth of our Movement. Anyway, I find the early tape history and all of Stockhausens' work very interesting but it's Riley's work that I relate to and resonate with aesthetically, as a starting point. The creation of Matthias Grob's Paradis Loop Delay (1993? 1994?) is also a spiritual starting point for me, personally and aesthetically because it was the first piece of 'kit' that was invented specifically to create looping music in a contolled (and for me, rhythmic way) as opposed to jerry-rigging a couple of tape decks to achieve a recorded loop as Riley and the French mystery engineer did. Does anyone else resonate with these distinctions about our aesthetic and historical origins? Rick Walker --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Sun Oct 26 19:08:04 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 805AB18355D; Sun, 26 Oct 2014 19:08:04 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=subject:references:from:content-type:in-reply-to:message-id:date:to :content-transfer-encoding:mime-version; bh=/goVDyVY9NhFx5R0PgDpU6TfqJqhKC3H3uRZuG4XZnE=; b=MwzR0fcS0Y4NwM7qm5NOvcBHctr61II3nonugQxLr7mwb21REXnYf+q48Esivgip5v ZPDDbicGnaJK7DcFrVEfhoUGW2mz3XIq/MIMWwRikRMWwHavd9GYF8+Dt5bMPCc1U2Wz esB518JFRK91ptyq1amKive4sotqDAELPvrvLMCbWrEf5Xt6w0whVwYGxzCaAIZOefA5 TZRGsa5NiKM77EROYrC8XKzOcTjaDabvqKTEKzJ5I+Kh//XYABmPWTqFQQCfhyOb8ER2 DrUwqmcLtnXZtrsmYzPELAFkq6dxTnoPhmt5rdt8xdUiTjV6sedlso/Gfbmf/2cpg+aG x/og== X-Received: by 10.68.111.161 with SMTP id ij1mr12770998pbb.10.1414350269908; Sun, 26 Oct 2014 12:04:29 -0700 (PDT) Subject: Re: The nature of the original Time Lag Accumulator References: <20141026143634.1A957183565@arsenic.violacea.com> <544D3F27.4070705@cruzio.com> From: Diarmuid Pigott Content-Type: text/plain; charset=us-ascii X-Mailer: iPhone Mail (12B411) In-Reply-To: <544D3F27.4070705@cruzio.com> Message-Id: Date: Mon, 27 Oct 2014 03:04:26 +0800 To: "Loopers-Delight@loopers-delight.com" Content-Transfer-Encoding: quoted-printable Mime-Version: 1.0 (1.0) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123651 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 19:08:04 +0000 (UTC) The Orgone Accumulator supposedly worked by having the rays of Orgone energy= coming in from all angles to get trapped between catching buffers and bounc= e around to arrive at the centre. So looking at the picture and reading the t= ext, I think that the joke Riley (and Coe probably. He was the enfant terrib= le here) must have meant was the sound following the same path as the suppo= sed Orgone.=20 Given that a lot of counterculture types were into Reich back then, it's an i= nteresting trick to be playing, and not really like any other stuff he (Rile= y) did.=20 Sent from my iPhone > On 27 Oct 2014, at 2:36 am, Rick Walker wrote: >=20 > Diarmuid Pigott wrote: >>=20 >> Accumulator was the olde time word for battery. >>=20 >>=20 >> This is a fascinating discussion and it also made me laugh at an improper= use of the term >>=20 >=20 >=20 >=20 > This is a fascinating discussion and it also made me laugh at potential mi= suse of that word: >=20 > "Apparently, the burglar was charged with 'ASSAULT and ACCUMULATION'" >=20 > I think I'm going to title a piece Assault and Accumulation. to go along w= ith a bad pun we used to > used to title a piece when I was doing a lot of Brazilian percussion......= ......ot was ca;;ed called 'Assaulte e Bateria'. >=20 > Thanks for the semantic history, Darmuid! >=20 > --- > This email is free from viruses and malware because avast! Antivirus prote= ction is active. > http://www.avast.com >=20 From Loopers-Delight-request@loopers-delight.com Sun Oct 26 20:28:31 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id B625D18355E; Sun, 26 Oct 2014 20:28:31 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-IronPort-Anti-Spam-Filtered: true X-IronPort-Anti-Spam-Result: AiwCAC1YTVRPT43NPGdsb2JhbAANT4t3yWWDIAKBHgEBBQEBAQE4hD4BAQMBOEAGCwshFg8JAwIBAgExFBMIAQGINLJslGwBAQEBBgEBAQEekQ8WhDUFuAeDNwEBAQ X-IPAS-Result: AiwCAC1YTVRPT43NPGdsb2JhbAANT4t3yWWDIAKBHgEBBQEBAQE4hD4BAQMBOEAGCwshFg8JAwIBAgExFBMIAQGINLJslGwBAQEBBgEBAQEekQ8WhDUFuAeDNwEBAQ X-IronPort-AV: E=Sophos;i="5.04,791,1406588400"; d="scan'208";a="758636706" Message-ID: <544D58DF.7000400@tiscali.co.uk> Date: Sun, 26 Oct 2014 20:26:07 +0000 From: andy butler User-Agent: Mozilla/5.0 (Windows NT 6.3; WOW64; rv:24.0) Gecko/20100101 Thunderbird/24.1.0 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: The Historic and Aesthetic Origins of Live Looping References: <544D42D5.3010702@cruzio.com> In-Reply-To: <544D42D5.3010702@cruzio.com> Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: <7O3rdC.A.2jC.vlVTUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123652 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 20:28:31 +0000 (UTC) On 26/10/2014 18:52, Rick Walker wrote: > Terry Riley's work with the Time Lag Accumulator technique is a lot more interesting to me as an > Stockhausen's use of tape delay in the formation of Musique Concrete. Stockhausen's set up also had feedback. > Does anyone else resonate with these distinctions about our aesthetic and historical origins? Have to admit that I'm not familiar with Riley's tape work. ..but yes, Matt's invention would seem like the beginning. The interesting thing is that Stockhausen had a way of doing long delay with feedback with just one modified tape deck. ...but no-one seems to care about that. I expect that innovations are generally done by folks with little talent for self promotion, and that hence they aren't recorded by history. ..and yes, I get that you have a foot in both camps in that respect :-) andy From Loopers-Delight-request@loopers-delight.com Sun Oct 26 22:02:23 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 14B46183562; Sun, 26 Oct 2014 22:02:23 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=WE2YbVBoUqb62zUJqYv6FfZbsJiRvPSRXrIWJ4O9+gE=; b=LjKya1kKAW61Z3Z5CqA1ZbXyJedi/YtrtVrwcQzk5WP6+fOzkAjbmBTaZK09LrFcJd 3EMWwWUn/c+GDTRGQFgP/G6FqABHpuTS8BAglsjIrw0+JjKbczygncEIqbJqi3GnSI/6 EKy6GzHaZX4e2IdqjbCBGtpJ7ArUT3nFRlgWMs+E3Hl0qHQSkrvP6eYXEXrdEi5GMECZ ys90bo5UOKfaNG5RJVYdKPuoX8pzyvCrDHkdah0+pn9DQFdlGLXi4z8OtQE3V6Au0gF1 6GJi6YVmgl3vfbWCQUyAlSbWAmnS4hb8MG5y4mM65a3R6bpyjOf5bEgMBQ3sCtj4uO+8 5c8w== MIME-Version: 1.0 X-Received: by 10.50.41.34 with SMTP id c2mr17848609igl.5.1414360728695; Sun, 26 Oct 2014 14:58:48 -0700 (PDT) In-Reply-To: <544D42D5.3010702@cruzio.com> References: <544D42D5.3010702@cruzio.com> Date: Sun, 26 Oct 2014 14:58:48 -0700 Message-ID: Subject: Re: The Historic and Aesthetic Origins of Live Looping From: Per Boysen To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=089e01183b60d19c8605065a841d Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123653 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 22:02:23 +0000 (UTC) --089e01183b60d19c8605065a841d Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable s=C3=B6ndag 26 oktober 2014 skrev Rick Walker > > > Does anyone else resonate with these distinctions about our aesthetic and > historical origins? > > Rick Walker > > Well, when in need for an eclectic technical definition of what I'm doing I usually say that "I do my own music utilizing the traditional Musique Concrete bag-of-tricks, but in real-time as I go, with my instrument playing both complementary and as source sound for instant processing". --=20 Greetings from Sweden Per Boysen www.perboysen.com http://www.youtube.com/perboysen --089e01183b60d19c8605065a841d Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable

s=C3=B6ndag 26 oktober 2014 skrev Rick Walker=C2=A0

Does anyone else resonate with these distinctions about our aesthetic and h= istorical origins?

Rick Walker


Well, when in need for = an eclectic technical=C2=A0definition of what I'm doing I usually say t= hat "I do my own music utilizing the traditional Musique Concrete bag-= of-tricks, but in real-time as I go, with my=C2=A0instrument playing both c= omplementary and as source sound for instant processing".=


--

Greetings from Sweden

Per Boysen
www.perboysen.com
http://www.you= tube.com/perboysen
--089e01183b60d19c8605065a841d-- From Loopers-Delight-request@loopers-delight.com Sun Oct 26 22:56:48 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 343A018355E; Sun, 26 Oct 2014 22:56:48 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=kPb3PTlMAeO5AJOQXbUtEHTfhCcukvZhJyowci2wMZA=; b=HbTKAlJOAGhFPATb2M1RfX9kjR2X2KVH1k03UlMCH25XntgB2XmBmxOC9UQ52Hbqdc 8pOyONbrYH6Bdaktuw8CW3L+as49uFYHdz75SvSRSIxJTmlVHPUOEOLrpUSfmlb8rFMV V/JaQqMcbdkWiKzXSZRkyZJ9ljvBwlPLaV1xJ0D52e2mH4T/uM9l0/mniz5xzCpA4IXh WatGhLzrFZKRa8RlieQ+Gnma72BMbr2V1SifgX5ugy4Gtun7HRqNE6+zDI5s96jvpeL/ wgw//YB2uhaccO0ME/vXxo60YVxz8N/AuPKt2pCl0Ch1UHrNC4GXXzoz8rbEdnnhZKu+ EBVw== MIME-Version: 1.0 X-Received: by 10.42.37.138 with SMTP id y10mr15637139icd.26.1414363993387; Sun, 26 Oct 2014 15:53:13 -0700 (PDT) In-Reply-To: References: <20141024171805.6FE6C167697@arsenic.violacea.com> <544AA79A.6020106@cruzio.com> Date: Sun, 26 Oct 2014 23:53:13 +0100 Message-ID: Subject: Re: Archival open ender - Terry Riley and the Fifth Business of Looping From: Fabio_A To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=90e6ba6e8fd469a1bf05065b472b Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123654 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Sun, 26 Oct 2014 22:56:48 +0000 (UTC) --90e6ba6e8fd469a1bf05065b472b Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Thank you for sharing all those precious informations, Ivodne. I'd love to help you in trying to find the mysterious engineer and surely I'd try to knock at some doors if I'd stay in Paris. -fabio Il domenica 26 ottobre 2014, Ivodne Galatea ha scritto: > Sending again as the last one had the wrong title so may be missed > > Hi all > > This is a longish post because I'm posting text from sources at the end. > > The "Fifth Business" of live looping is the anonymous French technician > from Radiodiffusion-T=C3=A9l=C3=A9vision Fran=C3=A7aise who implemented R= iley's desire for > an Echoplex with a long delay as a pair of twinned machines with an cable= d > feedback. > > Riley's genius was in conceiving of the utility of the long duration > regenerative loop (he had worked with prerecorded long loops in Mescalin > Mix), and equally importanly, on its realisation, he immediately knew wha= t > could be done with it in terms of performance - he shifted from the idea = of > a cut-up version of Chet Baker's jazz to what we now know to be > live-looping. That's what great artists do. Look what Matisse did with th= e > idea of cutouts. And there's a certain wow emotion I think everyone here > remembers getting the first time of becoming aware of the possibilities o= f > Riley's "phantom band" in their own praxis. > > But the anonymous French technician, he keeps on returning to my mind, > about his identity - he wasn't surprised by the request (he hadn't heard = of > the Echoplex) but thought about it and presented a solution. > > We know that for more than a decade previously the GRM under Schaeffer ha= d > been experimenting with such things as the Morphophone for experimenting > with delays, and the amazing tempophon with spinning heads that could do > real time pitch shifting with heads that rotated in the same or opposite > direction of the tape to make the apparent speed of the head at tape slow= er > or faster for the same moment in time. Now if this anonymous engineer > worked in Paris for ORTF, then he will certainly have known of it, and ma= y > have even worked there. Given the number of experimental art musicians wi= th > a day job, he may have even been a musique concrete practitioner himself. > > I've not been able to figure out who he was, with all the online material > available. I made a ridiculously long short list by getting the name of > every French sound engineer associated with ORTF around then (I was going > to try to write to them), but that wasn't much help as with the number of > possible identifiable addresses for each name the line of research kind o= f > petred out. > > So that's about it really. Who is that guy? Look at the extracts under th= e > sig. > > If anyone is interested in New York, Ken Dewey's archives for the period > are available to look in. It includes his accounts and correspondence, so > the name of the engineer might be in there > http://archives.nypl.org/controlaccess/160584?term=3DRiley,%20Terry,%2019= 35- > > Alternatively anyone in Paris could inquire if employment or contractual > records at ORTF go back that far. > > If there's anyone in the looping community looking for a research project > for an honours or masters project in musicology it might be an intereting > lead > > Of course someone may know who it is, but the name is nowhere on the > internet and I am tired of seeing this blacksmith to the gods go without = a > name. > > ig > > > ************************************************************************* > Texts > ************************************************************************* > > From SF Tape Music Center by Berstein > > Riley: Ken got me into a small recording studio at the Sarah Bernhardt > Theater in Paris. We took Chet Baker and his hand in. and I gave him some > ideas about what to record. Mainly. I wanted him to play, a modal piece, > and they picked So What? by Miles Davis. I told them to play the solos > separately, without the whole hand. So that I could cut it up and put it > back together later. And so this was the first project I=E2=80=99d done i= n two > years. Up until that point I had not been in a studio. I had not had any > equipment, nothing. So it was very exciting for me to finally hit somethi= ng > that I could put my teeth into and feel real exhilarated about working on= . > > Bernstein: Was the studio part of the French National Radio? > > Riley: Yes, it was the French radio, but they had studios in different > places. It just happened to he the Sarah Bernhardt studio where we did th= e > recording and used their studios for mixing. > > Bernstein: And they- showed you a way to do tape delay? > > Riley: Yes, the recording engineer . . . it was funny because I had > Mescalin Mix and the Echoplex loop in my mind. I think I first asked the > engineer, =E2=80=9CDo you have an Echoplex?" and he said. "No.=E2=80=9D S= o I said, =E2=80=9CWell I > want this kind of sound: RRRRRRRRrrrrrRRRRRR that=E2=80=99s got a long lo= op, and do > you know how you can do that?" and he said, =E2=80=9COh, yes!" He stretch= ed the > tape between two tape recorders and voili! and I thought, oh, this is > incredible, exactly what I want. > > Bernstein: I really like the way you use tape delay in The Gift. > > Riley: I used some small tape loops, of course, and John Graham's voice. > It was interesting because I was working with an engineer who was a very > straight guy in a white jacket, you know [laughs] who looks like he=E2=80= =99s > wearing a lab coat. I had to tell him what I was trying to do without > having my hands on the machine, which is a little bit frustrating. But it > was so wonderful to have really high quality, even though in those days I > guess it was mono, hut just to have these really high-quality machines to > work with, where you really could hear what you were recording. > > > > Notes to the Gift by Riley > The accumulation technique hadn=E2=80=99t been invented yet and it got in= vented > during this session. I was asking the engineer, describing to him the kin= d > of sound I had worked with in Mescalin Mix [an earlier tape composition].= I > wanted this kind of long, repeated loop and I said =E2=80=9Ccan you creat= e > something like that?=E2=80=9D He got it by stringing the tape between two= tape > recorders and feeding the signal from the second machine back to the firs= t > to recycle along with the new incoming signals. By varying the intensity = of > the feedback you could form the sound either into a single image without > delay or increase the intensity until it became a dense chaotic kind of > sound . . . The engineer was the first to create this technique that I kn= ow > of. This began my obsession with time-lag accumulation feed-back. > > > From Terry Riley's In C by Robert Carl > "Ken rented an old chateau in the Valdoinois, south of Paris. All the > actors and everybody lived in it while the show was being put together. > There was a big barn connected to the chateau. We rehearsed in the bam I'= d > come to the chateau at night and bring back the tapes I=E2=80=99d been wo= rking on. > We'd listen to them, and the actors would try to get a sense of how to > relate to the music. Occasionally Chet and the band would come out to the > chateau and we'd have a full rehearsal with everybody. Ken would watch th= e > whole thing and would try to get the actors to interact more with the > musicians, and try to get the musicians to be more involved with the > action.=E2=80=9D > > Riley decided to use his looping procedure as the basic compositional > technique, returning to electronic media for the first time in a couple o= f > years. [...] Dewey had brought in a French technician from the National > Radio (ORTF) to aid with the final mix, Riley describes what happened nex= t: > =E2=80=9CI described the effect [of echoing similar to Mesealtn Mix] to t= he French > engineer, a very straight guy in a white coat, who fooled around and ende= d > up hooking two tape recorders together. Boy! When I heard that sound it w= as > just what I wanted What you do is connect two tape recorders. The first o= ne > is playing back, the second recording, the tape stretched across the head= s > of both. As this machine records, it feeds back to the other machine, whi= ch > plays back what it=E2=80=99s added. It keeps building up... =E2=80=9D54 W= hat Riley had > discovered was a setup he would use for the next decade in solo > performance, one of the first major instances of interactive real-time > electronic music. He called it the =E2=80=9Ctime-lag accumulator.=E2=80= =9D It allowed > looping, but now with the precise time interval between the initial sound > and its echo, defined by the length of tape separating the playback from > record heads. It also allowed for controlled layering of sounds, critical= ly > in real time. By making the decision to also record the performers > individually, Riley created a rich inventory of materials that he could > then combine and elaborate into an entirely new counterpoint. > > > > > > > --90e6ba6e8fd469a1bf05065b472b Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Thank you for sharing all those precious informations, Ivodne.
I'd = love to help you in trying to find the mysterious engineer and surely I'= ;d try to knock at some doors if I'd stay in Paris.

-fabio



Il domenica 26 ottobre 2014, Ivodne G= alatea <takas20@hotmail.com&g= t; ha scritto:
Sending again as the last one had the wrong title so = may be missed

Hi all

This is a longish post because I'm p= osting text from sources at the end.

The "Fifth Business" of live looping is the anonymous French technic= ian=20 from Radiodiffusion-T=C3=A9l=C3=A9vision Fran=C3=A7aise who implemented Ril= ey's desire=20 for an Echoplex with a long delay as a pair of twinned machines with an=20 cabled feedback.

Riley's genius was in conceiving of the utilit= y of the long duration regenerative loop (he had worked with prerecorded=20 long loops in Mescalin Mix), and equally importanly, on its realisation, he immediately knew what could be done with it in terms of performance - he shifted from the idea of a cut-up version of Chet Baker's jazz to= =20 what we now know to be live-looping. That's what great artists do. Look= =20 what Matisse did with the idea of cutouts. And there's a certain wow=20 emotion I think everyone here remembers getting the first time of=20 becoming aware of the possibilities of Riley's "phantom band"= in their=20 own praxis.

But the anonymous French technician, he keeps on=20 returning to my mind, about his identity - he wasn't surprised by the= =20 request (he hadn't heard of the Echoplex) but thought about it and=20 presented a solution.

We know that for more than a decade=20 previously the GRM under Schaeffer had been experimenting with such=20 things as the Morphophone for experimenting with delays, and the amazing tempophon with spinning heads that could do real time pitch shifting=20 with heads that rotated in the same or opposite direction of the tape to make the apparent speed of the head at tape slower or faster for the=20 same moment in time. Now if this anonymous engineer worked in Paris for=20 ORTF, then he will certainly have known of it, and may have even worked=20 there. Given the number of experimental art musicians with a day job, he may have even been a musique concrete practitioner himself.

I'v= e not been able to figure out who he was, with all the online material=20 available. I made a ridiculously long short list by getting the name of=20 every French sound engineer associated with ORTF around then (I was=20 going to try to write to them), but that wasn't much help as with the= =20 number of possible identifiable addresses for each name the line of=20 research kind of petred out.

So that's about it really. Who is t= hat guy? Look at the extracts under the sig.

If anyone is interested in New York, Ken Dewey's archives for the period= =20 are available to look in. It includes his accounts and correspondence,=20 so the name of the engineer might be in there
http://archives.nypl.org/controlaccess/160584?term=3DRiley,%20Terry,%= 201935-

Alternatively anyone in Paris could inquire if employmen= t or contractual records at ORTF go back that far.

If there's anyone in the looping community looking for a research project= =20 for an honours or masters project in musicology it might be an=20 intereting lead

Of course someone may know who it is, but the name i= s nowhere on the=20 internet and I am tired of seeing this blacksmith to the gods go without a name.

ig


*********************************************= ****************************
Texts
**********************************= ***************************************

From SF Tape Music Center by= Berstein

Riley: Ken got me into a small recording studio at the Sarah Bernhardt Theater in Paris. We took Chet Baker and his hand in. and I gave him some ideas about what to record. Mainly. I wanted him to play, a modal piece, and=20 they picked So What? by Miles Davis. I told them to play the solos=20 separately, without the whole hand. So that I could cut it up and put it back together later. And so this was the first project I=E2=80=99d done in= two=20 years. Up until that point I had not been in a studio. I had not had any equipment, nothing. So it was very exciting for me to finally hit=20 something that I could put my teeth into and feel real exhilarated about working on.

Bernstein: Was the studio part of the French National R= adio?

Riley: Yes, it was the French radio, but they had studios in different places. It just happened to he the Sarah Bernhardt studio where we did the=20 recording and used their studios for mixing.

Bernstein: And they- sh= owed you a way to do tape delay?

Riley: Yes, the recording engineer . . . it was funny because I had Mescalin=20 Mix and the Echoplex loop in my mind. I think I first asked the=20 engineer, =E2=80=9CDo you have an Echoplex?" and he said. "No.=E2= =80=9D So I said, =E2=80=9CWell I want this kind of sound: RRRRRRRRrrrrrRRRRRR that=E2=80=99s got a long l= oop,=20 and do you know how you can do that?" and he said, =E2=80=9COh, yes!&q= uot; He=20 stretched the tape between two tape recorders and voili! and I thought,=20 oh, this is incredible, exactly what I want.

Bernstein: I really lik= e the way you use tape delay in The Gift.

Riley: I used some small tape loops, of course, and John Graham's voice. It= =20 was interesting because I was working with an engineer who was a very=20 straight guy in a white jacket, you know [laughs] who looks like he=E2=80= =99s=20 wearing a lab coat. I had to tell him what I was trying to do without=20 having my hands on the machine, which is a little bit frustrating. But=20 it was so wonderful to have really high quality, even though in those=20 days I guess it was mono, hut just to have these really high-quality=20 machines to work with, where you really could hear what you were=20 recording.



Notes to the Gift by Riley
The accumulation technique hadn=E2=80=99t been invented yet and it got invented during this= =20 session. I was asking the engineer, describing to him the kind of sound I had worked with in Mescalin Mix [an earlier tape composition]. I wanted this kind of long, repeated loop and I said =E2=80=9Ccan you create someth= ing=20 like that?=E2=80=9D He got it by stringing the tape between two tape record= ers=20 and feeding the signal from the second machine back to the first to=20 recycle along with the new incoming signals. By varying the intensity of the feedback you could form the sound either into a single image=20 without delay or increase the intensity until it became a dense chaotic=20 kind of sound . . . The engineer was the first to create this technique=20 that I know of. This began my obsession with time-lag accumulation=20 feed-back.


From Terry Riley's In C by Robert Carl
"= Ken=20 rented an old chateau in the Valdoinois, south of Paris. All the actors=20 and everybody lived in it while the show was being put together. There=20 was a big barn connected to the chateau. We rehearsed in the bam I'd=20 come to the chateau at night and bring back the tapes I=E2=80=99d been work= ing=20 on. We'd listen to them, and the actors would try to get a sense of how= =20 to relate to the music. Occasionally Chet and the band would come out to the chateau and we'd have a full rehearsal with everybody. Ken would= =20 watch the whole thing and would try to get the actors to interact more=20 with the musicians, and try to get the musicians to be more involved=20 with the action.=E2=80=9D

Riley decided to use his looping procedure= as=20 the basic compositional technique, returning to electronic media for the first time in a couple of years. [...] Dewey had brought in a French=20 technician from the National Radio (ORTF) to aid with the final mix,=20 Riley describes what happened next: =E2=80=9CI described the effect [of ech= oing=20 similar to Mesealtn Mix] to the French engineer, a very straight guy in a white coat, who fooled around and ended up hooking two tape recorders=20 together. Boy! When I heard that sound it was just what I wanted What=20 you do is connect two tape recorders. The first one is playing back, the second recording, the tape stretched across the heads of both. As this=20 machine records, it feeds back to the other machine, which plays back=20 what it=E2=80=99s added. It keeps building up... =E2=80=9D54 What Riley had= discovered=20 was a setup he would use for the next decade in solo performance, one of the first major instances of interactive real-time electronic music. He called it the =E2=80=9Ctime-lag accumulator.=E2=80=9D It allowed looping, = but now with=20 the precise time interval between the initial sound and its echo,=20 defined by the length of tape separating the playback from record heads. It also allowed for controlled layering of sounds, critically in real=20 time. By making the decision to also record the performers individually, Riley created a rich inventory of materials that he could then combine=20 and elaborate into an entirely new counterpoint.






--90e6ba6e8fd469a1bf05065b472b-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 03:36:15 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id C179E18355F; Mon, 27 Oct 2014 03:36:15 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [PM07eTAqqDCJ5ChSjgfkVD0utzkqnZTz] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_e604064f-e1ce-4273-a3fa-bca50a91a409_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: The Historic and Aesthetic Origins of Live Looping Date: Mon, 27 Oct 2014 03:32:40 +0000 Importance: Normal In-Reply-To: <544D58DF.7000400@tiscali.co.uk> References: <544D42D5.3010702@cruzio.com>,<544D58DF.7000400@tiscali.co.uk> MIME-Version: 1.0 X-OriginalArrivalTime: 27 Oct 2014 03:32:41.0117 (UTC) FILETIME=[A9ADECD0:01CFF196] Resent-Message-ID: <0h21r.A.2yF.v2bTUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123655 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 03:36:15 +0000 (UTC) --_e604064f-e1ce-4273-a3fa-bca50a91a409_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable The trouble is that people=0A= have an innate predisposition to "homesteading" in art=2C =0A= as it is the first to be recognisably published that is the one that is =0A= considered a founder. But I think artistic influence is a Markov Chain. Eve= ry time I read a post by any of you=2C I go off to find out what the person= has done. Given the plasticity of the brain=2C every one of you has altere= d my brain (thanks!) because of that. The outcome of the influence is a dif= ferent matter. RTF published an annual "state of the art" report from 1948 to the mid =0A= 60s (while tape was still cool) and we can plot the spread out of the =0A= Morphophone and its descendants. The first person to merge Musique Concrete and live stuff was (IIRC) Stockh= ausen with Gesang der Jungling in 1955. But Stockhausen used a modified ver= sion of the Morphophone. He studied with Schaeffer in Paris the year before= and adapted his technology. Schaeffer studied with Gurdjieff=2C who had wa= ndered Asia collecting music and tales of instruments making mountains sing= and contraptions that made music with a means noone understood. Gurdjieff = was influenced by the Azov poets who sang annually to make a mountain sing = - this is shown beautifully in the opening to the film "Meetings with Remar= kable Men". So if Gurdjieff's dad hadn't taken him to see the Azovs... But Stockhausen was at Cologne because of the comment of the phonologist Me= yer-Eppler had made on a broadcast about all future compositions being writ= ten to tape=2C because he heard Dudley demonstrate the Vocoder=2C because B= ell labs wanted to get better transmission of voice. Meanwhile Riley was influence by Stockhausen and composed Spectra (1959 I t= hink) under his influence - I think of Zeitmasse=2C which was a serialish w= ork. But Cage (who was influenced so heavily by Cowell=2C who wrote enthusi= astically of the mechanical creation of infrasounds by the Russian professo= r whose name eludes me right now - this is all being written in a hurry at = work on the sly and I really don't want googling Russian+Cowell+Infrasound = in the proxy cache) wangles a research grant to employ the Barrons who mak= e the tape music for films. Riley would have heard those soundtracks surely= . The there is Otto Leunig. Meanwhile also Phil Cochran's Strata was the fi= rst published piece for =0A= instruments and long delay tape (?1964?) from a graphic score and the =0A= noise around that piece doesn't (I think) mention Riley. He's alive so =0A= he could be asked how he got to know about it.=20 Meanwhile it was the incandescent genius of Oliveros at the SF tape centre = and her sense of performance in tape that would have been very much in the = mix here. But (and a very big but it is ) it was LaMonte Young that did the direct in= ject of jazz into the system - his love of Coltrane was infectious=2C and R= iley saw the capabilities of the (then) new music as both improvisatory and= cyclical. With jazz comes the imp of improvisation=2C and having fun=2C an= d creating the new on the spot. And that meant that Riley - who undoubtedly= had all of the above influences in his musical DNA realised the jazz poten= tial in tape delay and the time-lag-accumulator. And the Markov chain for Jazz in 1959 is mind-numbingly complex. > Date: Sun=2C 26 Oct 2014 20:26:07 +0000 > From: akbutler@tiscali.co.uk > To: Loopers-Delight@loopers-delight.com > Subject: Re: The Historic and Aesthetic Origins of Live Looping >=20 >=20 >=20 > On 26/10/2014 18:52=2C Rick Walker wrote: >=20 > > Terry Riley's work with the Time Lag Accumulator technique is a lot mor= e interesting to me as an > > Stockhausen's use of tape delay in the formation of Musique Concrete. >=20 > Stockhausen's set up also had feedback. >=20 > > Does anyone else resonate with these distinctions about our aesthetic a= nd historical origins? >=20 > Have to admit that I'm not familiar with Riley's tape work. >=20 > ..but yes=2C Matt's invention would seem like the beginning. >=20 > The interesting thing is that Stockhausen had a way of > doing long delay with feedback with just one > modified tape deck. > ...but no-one seems to care about that. >=20 >=20 > I expect that innovations are generally done by folks > with little talent for self promotion=2C and that hence > they aren't recorded by history. >=20 >=20 >=20 > ..and yes=2C I get that you have a foot in both camps in that respect :-) >=20 > andy >=20 = --_e604064f-e1ce-4273-a3fa-bca50a91a409_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

The trouble is that people= =0A= have an innate predisposition to "homesteading" in art=2C =0A= as it is the first to be recognisably published that is the one that is =0A= considered a founder. But I think artistic influence is a Markov Chain. Eve= ry time I read a post by any of you=2C I go off to find out what the person= has done. Given the plasticity of the brain=2C every one of you has altere= d my brain (thanks!) because of that. The outcome of the influence is a dif= ferent matter.

RTF published an annual "state of the art" report fro= m 1948 to the mid =0A= 60s (while tape was still cool) and we can plot the spread out of the =0A= Morphophone and its descendants.

The first person to merge Musique C= oncrete and live stuff was (IIRC) Stockhausen with Gesang der Jungling in 1= 955. But Stockhausen used a modified version of the Morphophone. He studied= with Schaeffer in Paris the year before and adapted his technology. Schaef= fer studied with Gurdjieff=2C who had wandered Asia collecting music and ta= les of instruments making mountains sing and contraptions that made music w= ith a means noone understood. Gurdjieff was influenced by the Azov poets wh= o sang annually to make a mountain sing - this is shown beautifully in the = opening to the film "Meetings with Remarkable Men". So if Gurdjieff's dad h= adn't taken him to see the Azovs...

But Stockhausen was at Cologne b= ecause of the comment of the phonologist Meyer-Eppler had made on a broadca= st about all future compositions being written to tape=2C because he heard = Dudley demonstrate the Vocoder=2C because Bell labs wanted to get better tr= ansmission of voice.

Meanwhile Riley was influence by Stockhausen an= d composed Spectra (1959 I think) under his influence - I think of Zeitmass= e=2C which was a serialish work. But Cage (who was influenced so heavily by= Cowell=2C who wrote enthusiastically of the mechanical creation of infraso= unds by the Russian professor whose name eludes me right now - this is all = being written in a hurry at work on the sly and I really don't want googlin= g Russian+Cowell+Infrasound in the proxy cache) =3B wangles a research = grant to employ the Barrons who make the tape music for films. Riley would = have heard those soundtracks surely. The there is Otto Leunig. Meanwhile al= so Phil Cochran's Strata was the first published piece for =0A= instruments and long delay tape (?1964?) from a graphic score and the =0A= noise around that piece doesn't (I think) mention Riley. He's alive so =0A= he could be asked how he got to know about it.

Meanwhile it was the= incandescent genius of Oliveros at the SF tape centre and her sense of per= formance in tape that would have been very much in the mix here.

But= (and a very big but it is ) it was LaMonte Young that did the direct injec= t of jazz into the system - his love of Coltrane was infectious=2C and Rile= y saw the capabilities of the (then) new music as both improvisatory and cy= clical. With jazz comes the imp of improvisation=2C and having fun=2C and c= reating the new on the spot. And that meant that Riley - who undoubtedly ha= d all of the above influences in his musical DNA realised the jazz potentia= l in tape delay and the time-lag-accumulator.

And the Markov chain f= or Jazz in 1959 is mind-numbingly complex.


>=3B Date: Sun= =2C 26 Oct 2014 20:26:07 +0000
>=3B From: akbutler@tiscali.co.uk
&g= t=3B To: Loopers-Delight@loopers-delight.com
>=3B Subject: Re: The His= toric and Aesthetic Origins of Live Looping
>=3B
>=3B
>=3B=
>=3B On 26/10/2014 18:52=2C Rick Walker wrote:
>=3B
>=3B = >=3B Terry Riley's work with the Time Lag Accumulator technique is a lot = more interesting to me as an
>=3B >=3B Stockhausen's use of tape del= ay in the formation of Musique Concrete.
>=3B
>=3B Stockhausen's= set up also had feedback.
>=3B
>=3B >=3B Does anyone else res= onate with these distinctions about our aesthetic and historical origins?>=3B
>=3B Have to admit that I'm not familiar with Riley's tape w= ork.
>=3B
>=3B ..but yes=2C Matt's invention would seem like the= beginning.
>=3B
>=3B The interesting thing is that Stockhausen = had a way of
>=3B doing long delay with feedback with just one
>= =3B modified tape deck.
>=3B ...but no-one seems to care about that.>=3B
>=3B
>=3B I expect that innovations are generally done= by folks
>=3B with little talent for self promotion=2C and that hence=
>=3B they aren't recorded by history.
>=3B
>=3B
>=3B=
>=3B ..and yes=2C I get that you have a foot in both camps in that r= espect :-)
>=3B
>=3B andy
>=3B
= = --_e604064f-e1ce-4273-a3fa-bca50a91a409_-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 03:38:31 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id AA0DA18355E; Mon, 27 Oct 2014 03:38:31 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [Dq/NcrgzUWc0p4aza8EtAVg1e7IkOx4j] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_24b00761-914a-4901-b078-4d3445072e40_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: The Historic and Aesthetic Origins of Live Looping Date: Mon, 27 Oct 2014 03:34:57 +0000 Importance: Normal In-Reply-To: <544D42D5.3010702@cruzio.com> References: <544D42D5.3010702@cruzio.com> MIME-Version: 1.0 X-OriginalArrivalTime: 27 Oct 2014 03:34:57.0502 (UTC) FILETIME=[FAF89FE0:01CFF196] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123656 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 03:38:31 +0000 (UTC) --_24b00761-914a-4901-b078-4d3445072e40_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Apart from anything else=2C the Paradis logo (the word loop made as a tape = thread) is to me the perfection of the aesthetic > Date: Sun=2C 26 Oct 2014 11:52:05 -0700 > From: looppool@cruzio.com > To: Loopers-Delight@loopers-delight.com > Subject: The Historic and Aesthetic Origins of Live Looping >=20 > Maybe it's cutting to fine a distinction=2C but because of our own=20 > involvement with live looping=2C > Terry Riley's work with the Time Lag Accumulator technique is a lot more= =20 > interesting to me as an > historic origin of our movement than Stockhausen's use of tape delay in=20 > the formation of Musique Concrete. >=20 > Because tape delays' extension to the dedicated creation of long tape=20 > loops with the Time Lag Accumlator > is analagous to digital delays extension to create the first dedicated=20 > digital loopers=2C we can say that > Terry Riley (with the assistance of his mysterious french audio=20 > engineer) is the Birth of our Movement. >=20 > Anyway=2C I find the early tape history and all of Stockhausens' work=20 > very interesting but it's Riley's work > that I relate to and resonate with aesthetically=2C as a starting point. >=20 > The creation of Matthias Grob's Paradis Loop Delay (1993? 1994?) is also= =20 > a spiritual starting point for me=2C personally and aesthetically because= =20 > it was > the first piece of 'kit' that was invented specifically to create=20 > looping music in a contolled (and for me=2C rhythmic way) > as opposed to jerry-rigging a couple of tape decks to achieve a recorded= =20 > loop as Riley and the French mystery engineer did. >=20 > Does anyone else resonate with these distinctions about our aesthetic=20 > and historical origins? >=20 > Rick Walker >=20 > --- > This email is free from viruses and malware because avast! Antivirus prot= ection is active. > http://www.avast.com >=20 = --_24b00761-914a-4901-b078-4d3445072e40_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Apart from anything else=2C the = Paradis logo (the word loop made as a tape thread) is to me the perfection = of the aesthetic

>=3B Date: Sun=2C 26 Oct 2014 11:52:05 -0700=
>=3B From: looppool@cruzio.com
>=3B To: Loopers-Delight@loopers-= delight.com
>=3B Subject: The Historic and Aesthetic Origins of Live L= ooping
>=3B
>=3B Maybe it's cutting to fine a distinction=2C but= because of our own
>=3B involvement with live looping=2C
>=3B = Terry Riley's work with the Time Lag Accumulator technique is a lot more >=3B interesting to me as an
>=3B historic origin of our movement = than Stockhausen's use of tape delay in
>=3B the formation of Musique= Concrete.
>=3B
>=3B Because tape delays' extension to the dedic= ated creation of long tape
>=3B loops with the Time Lag Accumlator>=3B is analagous to digital delays extension to create the first dedica= ted
>=3B digital loopers=2C we can say that
>=3B Terry Riley (w= ith the assistance of his mysterious french audio
>=3B engineer) is t= he Birth of our Movement.
>=3B
>=3B Anyway=2C I find the early = tape history and all of Stockhausens' work
>=3B very interesting but = it's Riley's work
>=3B that I relate to and resonate with aestheticall= y=2C as a starting point.
>=3B
>=3B The creation of Matthias Gro= b's Paradis Loop Delay (1993? 1994?) is also
>=3B a spiritual startin= g point for me=2C personally and aesthetically because
>=3B it was>=3B the first piece of 'kit' that was invented specifically to create <= br>>=3B looping music in a contolled (and for me=2C rhythmic way)
>= =3B as opposed to jerry-rigging a couple of tape decks to achieve a recorde= d
>=3B loop as Riley and the French mystery engineer did.
>=3B <= br>>=3B Does anyone else resonate with these distinctions about our aesth= etic
>=3B and historical origins?
>=3B
>=3B Rick Walker>=3B
>=3B ---
>=3B This email is free from viruses and malwar= e because avast! Antivirus protection is active.
>=3B http://www.avast= .com
>=3B
= --_24b00761-914a-4901-b078-4d3445072e40_-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 03:40:14 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 09580183567; Mon, 27 Oct 2014 03:40:14 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:content-transfer-encoding:thread-index :content-language; bh=9jdUdswkXQFFRRC6tzEYMpOBcWZTtYf9QJm0uPkmUR4=; b=ei0HMSRk0YKOBMbRolshdUJdQDsaUmp9+a5/SWpQoRkxMpnPFUlhk08gtcjXMPWged 90JiwA5A5EfXXtyoSCSIas2r1nVgMyHjWIeHRupbfDEnMGBUbXk+chsta5bD+CVFEGi4 PtDKdcWnXTa9u/EJyMZNNwNGpkImrnH/YPtCtrrkzj8fawE11SwJScjcEiproaHHOUZ/ PMClR/oWlRBOMva2rXs9bU8NJNT1Smec8ZLAwyFfm9Ap5rO7/EdbHpjGQZvVked7/bL7 OZ938CwQhCdN9zNaPktr2riJWwFjth+45lgHQKbE201ofCIM8zQ0GTxFQnvm7LHteVj/ 5MnA== X-Received: by 10.66.148.225 with SMTP id tv1mr1198186pab.17.1414380999187; Sun, 26 Oct 2014 20:36:39 -0700 (PDT) From: "Diarmuid Pigott" To: References: <20141026143634.1A957183565@arsenic.violacea.com> <544D3F27.4070705@cruzio.com> In-Reply-To: <544D3F27.4070705@cruzio.com> Subject: RE: The nature of the original Time Lag Accumulator Date: Mon, 27 Oct 2014 11:36:32 +0800 Message-ID: <006201cff197$365a0a60$a30e1f20$@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="US-ASCII" Content-Transfer-Encoding: 7bit X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQLnZ13/6/KB4Gth37vovLaC1rMCmQGhvmbLmgdRrRA= Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123657 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 03:40:14 +0000 (UTC) Brilliant - please do -----Original Message----- From: Rick Walker [mailto:looppool@cruzio.com] Sent: Monday, 27 October 2014 2:36 AM To: Loopers-Delight@loopers-delight.com Subject: RE: The nature of the original Time Lag Accumulator Diarmuid Pigott wrote: > > Accumulator was the olde time word for battery. > > > This is a fascinating discussion and it also made me laugh at an > improper use of the term > This is a fascinating discussion and it also made me laugh at potential misuse of that word: "Apparently, the burglar was charged with 'ASSAULT and ACCUMULATION'" I think I'm going to title a piece Assault and Accumulation. to go along with a bad pun we used to used to title a piece when I was doing a lot of Brazilian percussion............ot was ca;;ed called 'Assaulte e Bateria'. Thanks for the semantic history, Darmuid! --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Mon Oct 27 04:47:12 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 2E8511675C2; Mon, 27 Oct 2014 04:47:12 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [/it8Xaf/zW76nHTMFAujLWs/hhO4tpzE] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_9c04d5d3-ae40-4315-ad3b-f04a5a0b1201_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Influences etc Date: Mon, 27 Oct 2014 04:43:36 +0000 Importance: Normal In-Reply-To: References: <544D42D5.3010702@cruzio.com>, MIME-Version: 1.0 X-OriginalArrivalTime: 27 Oct 2014 04:43:36.0873 (UTC) FILETIME=[924EC190:01CFF1A0] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123658 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 04:47:12 +0000 (UTC) --_9c04d5d3-ae40-4315-ad3b-f04a5a0b1201_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable You can't unravel influence really I think. If it's not too vainglorious=2C I'd like to use my (improbably) most downlo= aded piece on both SoundCloud and BandCamp is The Ballet of Kore and Demete= r* and it gets downloaded almost daily since I put it on my feature list. G= iven that I only recovered it off a harddrive I found in an inspection pit = in my garage and was only looking on it to make sure that it had nothing se= nsitive on the hard drive it's an odd but jubilant feeling to have it unexp= ectedly appreciated 18 years on. But it's a good reason for the impossibili= ty of unravelling of influence of the me that was me in 1996 https://soundcloud.com/ivodne-galatea/the-ballet-of-demeter-and-kore http://ivodnegalatea.bandcamp.com/track/the-ballet-of-kor-and-demeter Anyway=2C it's a 74 minute recording of a live-performance of continuous co= mposition looping over sequencing with prepared sounds=2C played on a keybo= ard in real time from a graphic score against sequenced loops (in a lost AV= programming language called RAVEL)=2C with a cassette playing of all that = was left of my own musique concrete performances owing to the great tape de= cay event which were brutist to begin with but now sound like something cry= ing out in a dungeon underneath. It's 74 minutes long because back then th= at's all you could get onto a CD and was a construct upper bounds.=20 Influence analysis: it is so completely under the spell of Oprhee and Varia= tions for a Sigh and a Door and also the Cocteau reinventing myth vibe as w= ell=2C but it's also completely egrossed in the aesthetic of Chowning's Str= ia - not the synthesis aspect but the musical development of the piece itse= lf as timbre and the Golden Ratio - I always get overwhelmed listening to S= tria=2C it's just perfect. But it's also got the aesthetic of "A love supre= me" throughout (and it's pan-African idealistic influence). But also of Sof= t Machine 5=2C the free percussion aspects and it's amazing use of looping = and overlaid rhythms and shifting sigs all emerging into dance. And the com= positional aspect is massively influenced by my abiding love of Kecapi Suli= ng music. But the overall idea of using loops to compose and perform in tha= t way at all was entirely down to Riley and my ongoing love of his music an= d his time-lag-accumulator. I'm not sure you can see any of that in the pie= ce though - I can but then I would be able to. But more importantly for the purpose of the discussion=2C there wouldn't be= a bin in your local record store with those things in it as a category - i= t's what people might metaphorically considered Salmagundi (oblique referen= ce to the origin of the motto of the US - the man gathering ingredients for= a salad=2C and out of the many=2C making one thing) Perhaps other people might share how they see influence in pieces they are = particularly proud of (if it's not over-sharing) *originally called Persephone (which has been seen as being derived from "d= estroyer of speech" or "destroyer of sound") as a tribute to Schaeffer and = Henry but I renamed it because of too many other things being called Persep= hone and getting fed up with people getting confused. = --_9c04d5d3-ae40-4315-ad3b-f04a5a0b1201_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
You can't unravel influence real= ly I think.

If it's not too vainglorious=2C I'd like to use my (impr= obably) most downloaded piece on both SoundCloud and BandCamp is The Ballet= of Kore and Demeter* and it gets downloaded almost daily since I put it on= my feature list. Given that I only recovered it off a harddrive I found in= an inspection pit in my garage and was only looking on it to make sure tha= t it had nothing sensitive on the hard drive it's an odd but jubilant feeli= ng to have it unexpectedly appreciated 18 years on. But it's a good reason = for the impossibility of unravelling of influence of the me that was me in = 1996

https://soundcloud.com/ivodne-galatea/the-ballet-of-demeter-and= -kore
http://ivodnegalatea.bandcamp.com/track/the-ballet-of-kor-and-deme= ter

Anyway=2C it's a 74 minute recording of a live-performance of co= ntinuous composition looping over sequencing with prepared sounds=2C played= on a keyboard in real time from a graphic score against sequenced loops (i= n a lost AV programming language called RAVEL)=2C with a cassette playing o= f all that was left of my own musique concrete performances owing to the gr= eat tape decay event which were brutist to begin with but now sound like so= mething crying out in a dungeon underneath. =3B It's 74 minutes long be= cause back then that's all you could get onto a CD and was a construct uppe= r bounds.

Influence analysis: it is so completely under the spell o= f Oprhee and Variations for a Sigh and a Door and also the Cocteau reinvent= ing myth vibe as well=2C but it's also completely egrossed in the aesthetic= of Chowning's Stria - not the synthesis aspect but the musical development= of the piece itself as timbre and the Golden Ratio - I always get overwhel= med listening to Stria=2C it's just perfect. But it's also got the aestheti= c of "A love supreme" throughout (and it's pan-African idealistic influence= ). But also of Soft Machine 5=2C the free percussion aspects and it's amazi= ng use of looping and overlaid rhythms and shifting sigs all emerging into = dance. And the compositional aspect is massively influenced by my abiding l= ove of Kecapi Suling music. But the overall idea of using loops to compose = and perform in that way at all was entirely down to Riley and my ongoing lo= ve of his music and his time-lag-accumulator. I'm not sure you can see any = of that in the piece though - I can but then I would be able to.

But= more importantly for the purpose of the discussion=2C there wouldn't be a = bin in your local record store with those things in it as a category - it's= what people might metaphorically considered Salmagundi (oblique reference = to the origin of the motto of the US - the man gathering ingredients for a = salad=2C and out of the many=2C making one thing)

Perhaps other peop= le might share how they see influence in pieces they are particularly proud= of (if it's not over-sharing)


*originally called Persephone (wh= ich has been seen as being derived from "destroyer of speech" or "destroyer= of sound") as a tribute to Schaeffer and Henry but I renamed it because of= too many other things being called Persephone and getting fed up with peop= le getting confused.


= --_9c04d5d3-ae40-4315-ad3b-f04a5a0b1201_-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 05:24:04 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id D50C318355F; Mon, 27 Oct 2014 05:24:04 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [VzgALiNwy6pvlkxX2kuFXfYV9TOLh7Nq] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_a68fd251-dbff-4714-8a53-67c1dbd03a98_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: The Historic and Aesthetic Origins of Live Looping Date: Mon, 27 Oct 2014 05:20:29 +0000 Importance: Normal In-Reply-To: <544D42D5.3010702@cruzio.com> References: <544D42D5.3010702@cruzio.com> MIME-Version: 1.0 X-OriginalArrivalTime: 27 Oct 2014 05:20:30.0529 (UTC) FILETIME=[B9BFDB10:01CFF1A5] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123659 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 05:24:04 +0000 (UTC) --_a68fd251-dbff-4714-8a53-67c1dbd03a98_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable For me looping begins with repurposed domestic tape recorders when people w= ere throwing them out because of cassette machines. mid to late 1970s. My f= amily had one=2C and people in the neighbourhood had them. Shitty overused = and undermaintained machines and horrible microphones for sending voice let= ters to mum as a spool of tape. Recording over horribly overused tapes usin= g worn capstans with variable speed. Hum and whitenoise and fadeout built-i= n and accepted as part of the mix because it was unavoidable. 1975-8. Getti= ng a microphone cable snuck up the staircase to the living room where the l= argely untouched Gebr. Neindorf piano stood=2C and putting bolts between th= e strings=2C and thumping on it when everyone was out at work or the shops= =2C then removing everything and running backj down the spiral staircase to= listen to the results. Hearing the almost tidal decay in the sounds loopin= g between the different tapes laid out in a circle. I had an old suitcase s= tuffed with pillows and the springs-in-a-frame from the base of a radio cha= ir=2C and a radio with an aux in and a mike locked in there as part of the = setup=2C and it would invariably fall over when the door closed upstairs. I= did that all summer holidays when I could. I remember there was one tape with James Last on it that had "theme from a = summer holiday" on it=2C and where the splice was it wouldn't erase. So unt= il that tape wore out there was a perioding injection and mutation of "laaa= a=2C da dee da daaaaa " into it=2C gradually crinkle mutilated. I recorded = that one with a cassette tape=2C long since lost. Paddy Leigh Fermour in "A= s I stepped out one morning" talks about the feeling of loss of a set of di= aries returning periodically like an ache in the weather. Having unrealisab= le memories of those recordings aches in that way. But I wouldn't go back f= or a moment - now I turn up the crinkle setting on a timeline or the mod se= tting on my deja vu. No running involved! Anyway - it couldn't be further from the Paradis Loop except in systems ter= ms! > Date: Sun=2C 26 Oct 2014 11:52:05 -0700 > From: looppool@cruzio.com > To: Loopers-Delight@loopers-delight.com > Subject: The Historic and Aesthetic Origins of Live Looping >=20 > Maybe it's cutting to fine a distinction=2C but because of our own=20 > involvement with live looping=2C > Terry Riley's work with the Time Lag Accumulator technique is a lot more= =20 > interesting to me as an > historic origin of our movement than Stockhausen's use of tape delay in=20 > the formation of Musique Concrete. >=20 > Because tape delays' extension to the dedicated creation of long tape=20 > loops with the Time Lag Accumlator > is analagous to digital delays extension to create the first dedicated=20 > digital loopers=2C we can say that > Terry Riley (with the assistance of his mysterious french audio=20 > engineer) is the Birth of our Movement. >=20 > Anyway=2C I find the early tape history and all of Stockhausens' work=20 > very interesting but it's Riley's work > that I relate to and resonate with aesthetically=2C as a starting point. >=20 > The creation of Matthias Grob's Paradis Loop Delay (1993? 1994?) is also= =20 > a spiritual starting point for me=2C personally and aesthetically because= =20 > it was > the first piece of 'kit' that was invented specifically to create=20 > looping music in a contolled (and for me=2C rhythmic way) > as opposed to jerry-rigging a couple of tape decks to achieve a recorded= =20 > loop as Riley and the French mystery engineer did. >=20 > Does anyone else resonate with these distinctions about our aesthetic=20 > and historical origins? >=20 > Rick Walker >=20 > --- > This email is free from viruses and malware because avast! Antivirus prot= ection is active. > http://www.avast.com >=20 = --_a68fd251-dbff-4714-8a53-67c1dbd03a98_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
For me looping begins with repur= posed domestic tape recorders when people were throwing them out because of= cassette machines. mid to late 1970s. My family had one=2C and people in t= he neighbourhood had them. Shitty overused and undermaintained machines and= horrible microphones for sending voice letters to mum as a spool of tape. = Recording over horribly overused tapes using worn capstans with variable sp= eed. Hum and whitenoise and fadeout built-in and accepted as part of the mi= x because it was unavoidable. 1975-8. Getting a microphone cable snuck up t= he staircase to the living room where the largely untouched Gebr. Neindorf = piano stood=2C and putting bolts between the strings=2C and thumping on it = when everyone was out at work or the shops=2C then removing everything and = running backj down the spiral staircase to listen to the results. Hearing t= he almost tidal decay in the sounds looping between the different tapes lai= d out in a circle. I had an old suitcase stuffed with pillows and the sprin= gs-in-a-frame from the base of a radio chair=2C and a radio with an aux in = and a mike locked in there as part of the setup=2C and it would invariably = fall over when the door closed upstairs. I did that all summer holidays whe= n I could.

I remember there was one tape with James Last on it that = had "theme from a summer holiday" on it=2C and where the splice was it woul= dn't erase. So until that tape wore out there was a perioding injection and= mutation of "laaaa=2C da dee da daaaaa " into it=2C gradually crinkle muti= lated. I recorded that one with a cassette tape=2C long since lost. Paddy L= eigh Fermour in "As I stepped out one morning" talks about the feeling of l= oss of a set of diaries returning periodically like an ache in the weather.= Having unrealisable memories of those recordings aches in that way. But I = wouldn't go back for a moment - now I turn up the crinkle setting on a time= line or the mod setting on my deja vu. No running involved!

Anyway -= it couldn't be further from the Paradis Loop except in systems terms!
<= br>



>=3B Date: Sun=2C 26 Oct 2014 11:52:05 -0700
&= gt=3B From: looppool@cruzio.com
>=3B To: Loopers-Delight@loopers-delig= ht.com
>=3B Subject: The Historic and Aesthetic Origins of Live Loopin= g
>=3B
>=3B Maybe it's cutting to fine a distinction=2C but bec= ause of our own
>=3B involvement with live looping=2C
>=3B Terry= Riley's work with the Time Lag Accumulator technique is a lot more
>= =3B interesting to me as an
>=3B historic origin of our movement than = Stockhausen's use of tape delay in
>=3B the formation of Musique Conc= rete.
>=3B
>=3B Because tape delays' extension to the dedicated = creation of long tape
>=3B loops with the Time Lag Accumlator
>= =3B is analagous to digital delays extension to create the first dedicated =
>=3B digital loopers=2C we can say that
>=3B Terry Riley (with = the assistance of his mysterious french audio
>=3B engineer) is the B= irth of our Movement.
>=3B
>=3B Anyway=2C I find the early tape= history and all of Stockhausens' work
>=3B very interesting but it's= Riley's work
>=3B that I relate to and resonate with aesthetically=2C= as a starting point.
>=3B
>=3B The creation of Matthias Grob's = Paradis Loop Delay (1993? 1994?) is also
>=3B a spiritual starting po= int for me=2C personally and aesthetically because
>=3B it was
>= =3B the first piece of 'kit' that was invented specifically to create
&= gt=3B looping music in a contolled (and for me=2C rhythmic way)
>=3B a= s opposed to jerry-rigging a couple of tape decks to achieve a recorded >=3B loop as Riley and the French mystery engineer did.
>=3B
&g= t=3B Does anyone else resonate with these distinctions about our aesthetic =
>=3B and historical origins?
>=3B
>=3B Rick Walker
>= =3B
>=3B ---
>=3B This email is free from viruses and malware be= cause avast! Antivirus protection is active.
>=3B http://www.avast.com=
>=3B
= --_a68fd251-dbff-4714-8a53-67c1dbd03a98_-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 09:32:28 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id DE4BA18355E; Mon, 27 Oct 2014 09:32:28 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <544E104E.3060409@cruzio.com> Date: Mon, 27 Oct 2014 02:28:46 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Michael Peters and his 50th Anniversary Celebration of the Time Lag Accumulator in Koln, Deutschland, Summer 2013 References: <20141026225648.56970183567@arsenic.violacea.com> In-Reply-To: <20141026225648.56970183567@arsenic.violacea.com> Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: 7bit X-Antivirus: avast! (VPS 141026-1, 10/26/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: <3fa2fD.A.s9.sEhTUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123660 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 09:32:28 +0000 (UTC) On 10/26/2014 3:56 PM, Loopers-Delight-d-request@loopers-delight.com wrote: > > An awesome if expensive thing to do for a loopfest would be to have an > original TLA in a room, and have people process through it > improvising. I wonderful how difficult that would be > You have missed the wonderful German artist, Michael Peters from Kurten (outside of Koln) who, at the last Koln Live Looping Festival which was on the 50th anniversary of the TLA, recreated that technique with two reel to reel tape decks. I'll leave it up to Michael to provide the documentation, but it was extremely moving to me, emotionally, that he dedicated his performance to this historic anniversary. Rick Walker --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Mon Oct 27 09:35:43 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 7045E183561; Mon, 27 Oct 2014 09:35:43 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:content-transfer-encoding:thread-index :content-language; bh=ZyGSb8wHzWnFiRa5jWIccKYp154UXPZJO5EhdObH+l0=; b=VXxmyMoi6LAEdpBwarJSnpOF575TfhV1xWJq6qWJzYbDR0tveEM9Idey4EqL+lOKuu PLzcZ8i7jVteOrltx4Ibik8XG8QAD1k6lMyAiPtlAyyLG0R7mQdMJg9eBq4C/aDcKSPW qIDBWG018iaSKFRTJ3ypoSAgx/zgokEwU21EnDSxKaLv3fXwatmYiubXZYewgysRdgXZ ujxhsrI1vSiYuDE12GVSotxKPZEIAj5Xpj4Bqueaflu/z8q9BFEFqObqd2a11aaoBGwo UWW4A2CBNHXSZUXHtEwN4sWrpMLRcM9TKqpSHkS85lrhTSiCG4TrHoncM20zAHfhjIFp Ejxg== X-Received: by 10.68.194.136 with SMTP id hw8mr23012595pbc.17.1414402328165; Mon, 27 Oct 2014 02:32:08 -0700 (PDT) From: "Diarmuid Pigott" To: References: <20141026225648.56970183567@arsenic.violacea.com> <544E104E.3060409@cruzio.com> In-Reply-To: <544E104E.3060409@cruzio.com> Subject: RE: Michael Peters and his 50th Anniversary Celebration of the Time Lag Accumulator in Koln, Deutschland, Summer 2013 Date: Mon, 27 Oct 2014 17:32:00 +0800 Message-ID: <002a01cff1c8$df55f760$9e01e620$@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQKKh7xSeyXMSpB47vdScjX3Pu00KQEeqv2NmsWMfBA= Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123661 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 09:35:43 +0000 (UTC) I meant the room not the tape thing. Michael's brilliant for what he = does bringing tape back, more power to his elbow. I saw one of them on the Tube, don't know if it was this one But my point (I suppose) was the inclusive nature of the TLA as = installation, as an architecture -----Original Message----- From: Rick Walker [mailto:looppool@cruzio.com]=20 Sent: Monday, 27 October 2014 5:29 PM To: Loopers-Delight@loopers-delight.com Subject: Michael Peters and his 50th Anniversary Celebration of the Time = Lag Accumulator in Koln, Deutschland, Summer 2013 On 10/26/2014 3:56 PM, Loopers-Delight-d-request@loopers-delight.com = wrote: > > An awesome if expensive thing to do for a loopfest would be to have an = > original TLA in a room, and have people process through it=20 > improvising. I wonderful how difficult that would be > You have missed the wonderful German artist, Michael Peters from Kurten = (outside of Koln) who, at the last Koln Live Looping Festival which was = on the 50th anniversary of the TLA, recreated that technique with two = reel to reel tape decks. I'll leave it up to Michael to provide the documentation, but it was = extremely moving to me, emotionally, that he dedicated his performance = to this historic anniversary. Rick Walker --- This email is free from viruses and malware because avast! Antivirus = protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Mon Oct 27 12:41:36 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 121BF1675DE; Mon, 27 Oct 2014 12:41:35 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=bO2fz9A41BWyiWSmvGPgo7j/+u2/lXxhpea+A2qg7Q0=; b=OBHECKcHPlgaksfiYHsk/r8wO2hu6Ad30n3bB4mREFTSUvvWoE985S5n5PPdLRe1EK eptSQjeMOKRayHKVVLQ2zL201EDnnXRyNQ12VubHxgEre16Tcvl6bXldGSe3lVK96TT4 1WU/1xsuI3i0sP5NS2Rt6yI85xsN8FY1ZVGMN1FBZF7VusFU3eLybUkyq0B21IvKaQyT AEBlY7BkvN2TQKmqdpxM2rwq1s+Skpv+K0KS9n6eWMZRVW9cVAzLHIbB6M49X8iOhPBF F7Wa1WEjW9T/JI2FgfzFpvbT2g3vAqo5pXp6HmyfIV/cLqoU7WIviqNVnscpK8bakEae tAWQ== MIME-Version: 1.0 X-Received: by 10.220.12.18 with SMTP id v18mr16425236vcv.24.1414413481014; Mon, 27 Oct 2014 05:38:01 -0700 (PDT) In-Reply-To: References: <544D42D5.3010702@cruzio.com> Date: Mon, 27 Oct 2014 08:38:00 -0400 Message-ID: Subject: Re: The Historic and Aesthetic Origins of Live Looping From: Sylvain Poitras To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=001a11c3ce1619fbff050666cd95 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123662 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 12:41:35 +0000 (UTC) --001a11c3ce1619fbff050666cd95 Content-Type: text/plain; charset=UTF-8 On Sun, Oct 26, 2014 at 5:58 PM, Per Boysen wrote: > Well, when in need for an eclectic technical definition of what I'm doing > I usually say that "I do my own music utilizing the traditional Musique > Concrete bag-of-tricks, but in real-time as I go, with my instrument > playing both complementary and as source sound for instant processing". > That's usually how I describe what I'm doing as well, with the addition that my instrument produces not only musical material, but also control signals to open that bag-of-tricks. Sylvain --001a11c3ce1619fbff050666cd95 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable

= On Sun, Oct 26, 2014 at 5:58 PM, Per Boysen <perboysen@gmail.com&g= t; wrote:
Well, when in need = for an eclectic technical=C2=A0definition of what I'm doing I usually s= ay that "I do my own music utilizing the traditional Musique Concrete = bag-of-tricks, but in real-time as I go, with my=C2=A0instrument playing bo= th complementary and as source sound for instant processing&qu= ot;.

That's usually how I describe what I&#= 39;m doing as well, with the addition that my instrument produces not only = musical material, but also control signals to open that bag-of-tricks.
Sylvain
--001a11c3ce1619fbff050666cd95-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 19:50:05 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id DBE52167619; Mon, 27 Oct 2014 19:50:05 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=WbWIqDqd1MVmzCPGksZgo78Lm1EQySaNVoSkd9puNV8=; b=T0CLxcYL4XD3IvJvYmhxMPsEEfH5ZA8xqNNSKCWfFhgS/DuYj60ki4ECBEyJl+hUkl srAHQhOnvReeDEBY+vU+gMypbsAgtRgUwACnV3Kxh/pL4HQRW31WoQKMENNVuA06qpAG nuTmlEspJr6Pj5oTiTOrjdHFJmf6YbdmXCuPfutcKYCEehKwzYS5hv7rP9H9q+rQa+Z+ ZTJ1rZzr5hNyVcRrL3zClg6aX4jGC+zH5ffgEnJIhlSjkCwJgID8bbjsfxYJkWIkTnHO nhCMgo/HQbl25Nbd8GCn/6zTznQSOoqYYMpjQR9TgzWIl0BTQXnbJcgzRTEG1cLVmzpx cETg== MIME-Version: 1.0 X-Received: by 10.140.98.234 with SMTP id o97mr32807144qge.49.1414424015239; Mon, 27 Oct 2014 08:33:35 -0700 (PDT) In-Reply-To: <544CA990.6080302@cruzio.com> References: <544CA990.6080302@cruzio.com> Date: Mon, 27 Oct 2014 08:33:35 -0700 Message-ID: Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator From: Kevin Cheli-Colando To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=001a11393a8cfd83cd0506694090 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123663 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 19:50:05 +0000 (UTC) --001a11393a8cfd83cd0506694090 Content-Type: text/plain; charset=UTF-8 On Sun, Oct 26, 2014 at 12:58 AM, Rick Walker wrote: > *Am I the only one who things it's perhaps a bit dodgy that Terry Riley > hasn't researched who this ** > **mystery technician was to help him do his tape loops? He was there. He'd > certainly know how > to research the guy's name. > **** > **It seems to me that he needs almost equal credit for inventing the > technique and I can't help but wonder ** > **if Riley doesn't ever want his identity known for ego because he wants > sole credit for the creation > of this method of making music. > **** > **Am I just being too cynical and judgemental about this bit of history > mystery?** > **I'm honestly not sure if I am or not.** > ** > **I'd love your opinions.** > ** > > Hi Rick, I do think you're being a little bit over cynical here. The person was an engineer who took Terry's idea and made it a reality. As such we'll never really know how much that person understood about what they had just done and what was possible with it musically. This doesn't mean that I'm putting the engineer down as much as I'm saying he may merely have been the technician that built the device TR had envisioned if that makes sense. So in this case, while he may have invented the technology, he may have been completely clueless as to the technique ("what on earth are you going do with this now that I've made it?") Could go either way really but I wouldn't necessarily consider it an ego thing at all. Kevin -- Till now you seriously considered yourself to be the body and to have a form. That is the primal ignorance which is the root cause of all trouble. - Ramana Maharshi (1879-1950) --001a11393a8cfd83cd0506694090 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable

--001a11393a8cfd83cd0506694090-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 20:51:24 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id DFC3118355D; Mon, 27 Oct 2014 20:51:24 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 3747 seconds by postgrey-1.34 at arsenic; Mon, 27 Oct 2014 20:51:24 UTC Message-ID: From: "Marcus Kirby" To: "store6064" , "8gbm9 3861360261" <8gbm9-3861360261@job.craigslist.org>, "fm733 3855532618" , "8qqsb 3853171432" <8qqsb-3853171432@job.craigslist.org>, "kndsf 3737674278" , "Jason D Marr" , "Loopers Delight" , "carmen" , "Todd W" Subject: =?ISO-8859-1?Q?FW=3A=09store6064_j?= Date: Sun, 27 Oct 2014 08:24:29 +0000 MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_AB76_347D1DFC.6B261EC3" X-Priority: 3 X-MSMail-Priority: Normal Importance: Normal X-Mailer: Microsoft Windows Live Mail 16.4.3522.110 X-MIMEOLE: Produced By Microsoft MimeOLE V16.4.3522.110 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123664 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 20:51:24 +0000 (UTC) This is a multi-part message in MIME format. ------=_NextPart_000_AB76_347D1DFC.6B261EC3 Content-Type: text/plain; charset=ISO-8859-1 Content-Transfer-Encoding: quoted-printable http://kungfu.sg/lb/ahlaoherpyuhjnjsgnawucrimdizkeqdddaw.puattvbsiltjlkeosqpzf= kov Marcus Kirby ------=_NextPart_000_AB76_347D1DFC.6B261EC3 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable =EF=BB=BFhttp://kungfu.sg/lb/ahlaoherpyuhjnjsgnawucrimdizkeqdddaw.puattvbsiltj= lkeosqpzfkov












Marcus= Kirby


------=_NextPart_000_AB76_347D1DFC.6B261EC3-- From Loopers-Delight-request@loopers-delight.com Mon Oct 27 21:04:04 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 14AA718355F; Mon, 27 Oct 2014 21:04:03 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Date: Mon, 27 Oct 2014 22:00:24 +0100 (CET) From: emmanuel.reveneau@free.fr To: Loopers-Delight@loopers-delight.com Message-ID: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net> In-Reply-To: Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable X-Originating-IP: [37.160.236.237] X-Mailer: Zimbra 7.2.0-GA2598 (zclient/7.2.0-GA2598) X-Authenticated-User: emmanuel.reveneau@free.fr Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123665 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 21:04:04 +0000 (UTC) Hi, A few thoughts. First, the french engineer of the Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise= was part of the team which work was to radiobroadcast the theater performa= nces of the international festival "Th=C3=A9=C3=A2tre des Nations". They ha= d a special mobile studio for that, located inside the th=C3=A9=C3=A2tre Sa= rah Bernhardt. Nothing says that our engineer was linked to Schaeffer's GRM= . There were hundreds of sound engineers at the RTF during this period. Second, 1963 is the year of the relocation of the RTF from the old studios = to the brand new "maison ronde", avenue du Pr=C3=A9sident-Kennedy, Paris XV= Ie, and its transformation into ORTF the year after. Because of this moving= , 1963 is a dislocated year for the archives of the institution. By the way= , in general the archives of the french radio are disorderly dispersed all = across the country (Paris, Fontainebleau, etc...), not easy to find somethi= ng quickly. I found pretty fun to dedicate the first loopfest in Paris, last year, to t= his unknown guy (we have a tradition here in France to celebrate unknown gu= ys), he is certainly a fifth business of looping, but there is really no ce= rtitude for us to achieve this identity quest. Third, this is my interpretation of the 1963 TLA story : "In 1963, the Theatre des Nations, a Parisian international theater festiva= l, invited American playwright Ken Dewey=E2=80=99s company to present a per= formance at the Recamier Theater. The festival gave voice to the happening,= a new movement initiated in 1957 by a student of John Cage named Allan Kap= row and that took off in New York and California. Dewey=E2=80=99s American = Conservatory Theater (ACT) is multidisciplinary and includes choreographer = Anna Halprin=E2=80=99s dancers in addition to members of the Living Theatre= . In California, they experimented with new forms of theater and dance to c= reate "multimedia" production in association with members of the San Franci= sco Tape Music Center. The Tape Music Center was a group of musicians that = were interested in creating music by using magnetic tapes recorders. This g= roup included Terry Riley, who created =E2=80=9CMescalin Mix" in 1962 for o= ne of Halprin=E2=80=99s shows. In 1963, Riley scraped together a living in Paris playing jazz standards in= bars in Pigalleand on NATO bases. Upon meeting Dewey, he agreed to create = the soundtrack for the playwright=E2=80=99s intended performance at the fes= tival: an adaptation of his play "The Gift" created the previous year in Sa= n Francisco. Dewey rented a ruined castle in the southern suburbs of Paris = for rehearsals, while Riley made plans to work with Chet Baker - just relea= sed from prison in Italy for possession of heroin - and his quartet as musi= cians and actors. At the time, the quartet played regularly on the left ban= k at the cabaret le Chat qui p=C3=AAche and included Luis Fuentes (trombone= ), Luigi Trussardi (bass) and George Solano (drums). Riley recorded the quartet (together, then separately) in the studios of th= e Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise, installed in the Sarah Bernhar= dt Theatre (current Th=C3=A9=C3=A2tre de la ville) to broadcast the plays p= resented during the Th=C3=A9=C3=A2tre des Nations. Baker chose to interpret= "So What" by Miles Davis, a modal piece perfectly adapted to Riley=E2=80= =99s intentions. Riley also recorded excerpts from the text of "The Gift" r= ead by John Graham. Riley described to the RTF sound engineer assigned to a= ssist him the echo technique he used to record =E2=80=9CMescalin Mix=E2=80= =9D. In Riley=E2=80=99s words: =E2=80=9CI described the effect to the frenc= h engineer, a very straight guy in a white coat, wo fooled around and ended= up hooking two tapes recorder together. Boy ! When you heard that sound it= was just what I wanted=E2=80=A6 What you do is connect two tapes recorders= . The first is playing back, the second recording, the tape streched across= the heads of both. As this machine records, it feeds back to the other mac= hine, which plays back what it=E2=80=99s added. It keeps building up=E2=80= =A6 =C2=BB Repetition and accumulation: the Time Lag Accumulator was born and would pe= rmanently alter Riley=E2=80=99s musical approach. He followed this developm= ent to its logical conclusion the following year by composing the founding = piece of minimalist music: =E2=80=9CIn C=E2=80=9D. Riley would also use a s= imilar system in the 60=E2=80=99s for all-night improvisations in which he = accompanied himself on the harmonium and saxophone. When Chet Baker heard his quartet=E2=80=99s music passed through the mill o= f the Time Lag Accumulator, he exclaimed "Man, that's some crazy shit!" Man= y shared his negative reaction to this deconstruction of the rule of music.= The performances of "The Gift" on July 8, 9 and 10 1963 caused misundersta= nding and even anger among a Parisian public that had come mainly to hear t= he famous trumpeter and expected a kind of musical theater. Baker was not e= ven present at the premiere and Riley had to fill-in for him on short notic= e, using a toilet plunger as a trumpet. Actors, dancers and musicians were = precariously balanced on a huge metal mobile hanging from the ceiling creat= ed by sculptor Jerry Walters. The title object would move from hand to hand= during the play and was improvised at each performance. This created all k= inds of opportunities for provocation and forced the musicians to play ever= louder to cover the screams of the crowd. The maelstrom of sound created b= y Riley met the jazz quartet=E2=80=99s music. On the last evening, an actor= concludes his line "This is an incredible experience" by destroying record= ers and tape of which only fragmentswould ultimately survive: the 23 minute= s of recording known since as the "Music for the Gift"." Emmanuel From Loopers-Delight-request@loopers-delight.com Mon Oct 27 21:21:14 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 78C92183555; Mon, 27 Oct 2014 21:21:14 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:sender:in-reply-to:references:date:message-id:subject :from:to:content-type; bh=ZsikDSjACXl2g7m+m1F+kewvvuFdqr06np/gIlYCdy0=; b=zqmC86BqxxV4suxSJOyKcqcBrovyBTZmBaR692hFCorFyrijmC/t0vA/+AXdfRZhrr N+UfkVFT74DaejlvqyZTHP9jtuhyBXp/O8bgd5PJatMIZG9gnQQD6jGyGkLecSGm1Fve 0n9Kdf7A7QfIjhZisG17nw+RE1TZfHB0eGSlUbuduLVWayqkwzfVwmTB1dbbY3rXFYGV cm9RE4EEQXAGSyZ8o3a4O5EVCK1mSqT6BQJz+q31qdmhgSyvVTbhMwYgAoMSqkL7xz9E 9xoHvfxHrIUzpy47p7TDkhpwev8AetvzX03z7v9DvfgJy0TdwcdCE1IlTrnajb8TGrAR V+WA== MIME-Version: 1.0 X-Received: by 10.152.203.231 with SMTP id kt7mr12463528lac.84.1414444657250; Mon, 27 Oct 2014 14:17:37 -0700 (PDT) Sender: expertsleepers@gmail.com In-Reply-To: <544E104E.3060409@cruzio.com> References: <20141026225648.56970183567@arsenic.violacea.com> <544E104E.3060409@cruzio.com> Date: Mon, 27 Oct 2014 21:17:37 +0000 X-Google-Sender-Auth: 1nq4FNF8okGNg-6kHM4vcCtZgCg Message-ID: Subject: Re: Michael Peters and his 50th Anniversary Celebration of the Time Lag Accumulator in Koln, Deutschland, Summer 2013 From: Os To: Loopers Delight Content-Type: text/plain; charset=UTF-8 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123666 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Mon, 27 Oct 2014 21:21:14 +0000 (UTC) I'm not sure I've seen it mentioned here, but Michael Peters is playing two gigs in the UK this weekend: http://www.tuesdayspost.com cheers, os. On 27 October 2014 09:28, Rick Walker wrote: > On 10/26/2014 3:56 PM, Loopers-Delight-d-request@loopers-delight.com wrote: >> >> >> An awesome if expensive thing to do for a loopfest would be to have an >> original TLA in a room, and have people process through it improvising. I >> wonderful how difficult that would be >> > > You have missed the wonderful German artist, Michael Peters from Kurten > (outside of Koln) > who, at the last Koln Live Looping Festival which was on the 50th > anniversary of the TLA, > recreated that technique with two reel to reel tape decks. > > I'll leave it up to Michael to provide the documentation, but it was > extremely moving to me, emotionally, > that he dedicated his performance to this historic anniversary. > > Rick Walker > > --- > This email is free from viruses and malware because avast! Antivirus > protection is active. > http://www.avast.com > -- os@collective.co.uk http://twitter.com/expertsleepers http://www.darkroomtheband.net/ http://www.expert-sleepers.co.uk/ From Loopers-Delight-request@loopers-delight.com Tue Oct 28 00:39:17 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 73DF01675A1; Tue, 28 Oct 2014 00:39:17 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [08fzQB5IUmwQBtsX6we6WnHr+WAqYxB6] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_fa9cb365-dd1e-4928-813a-d793dbb491f6_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Tue, 28 Oct 2014 00:35:41 +0000 Importance: Normal In-Reply-To: References: <544CA990.6080302@cruzio.com>, MIME-Version: 1.0 X-OriginalArrivalTime: 28 Oct 2014 00:35:42.0476 (UTC) FILETIME=[1AE3A4C0:01CFF247] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123667 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 00:39:17 +0000 (UTC) --_fa9cb365-dd1e-4928-813a-d793dbb491f6_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable As I said elsewhere=2C there is a fair chance he was part of French tape cu= lture=2C which had been exploring the boundaries of what magnetic tape coul= d do since the late 40s. The anecdotes don't say "he looked at me and said = WTF" or similar. Hence the surmise. But the idea of tape jazz which is what= looping is=2C that's TR's Date: Mon=2C 27 Oct 2014 08:33:35 -0700 Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator From: billowhead@gmail.com To: Loopers-Delight@loopers-delight.com On Sun=2C Oct 26=2C 2014 at 12:58 AM=2C Rick Walker w= rote: *Am I the only one who things it's perhaps a bit dodgy that Terry Riley has= n't researched who this ** =0A= **mystery technician was to help him do his tape loops? He was there. He'd = certainly know how =0A= to research the guy's name. =0A= **** =0A= **It seems to me that he needs almost equal credit for inventing the techni= que and I can't help but wonder ** =0A= **if Riley doesn't ever want his identity known for ego because he wants so= le credit for the creation =0A= of this method of making music. =0A= **** =0A= **Am I just being too cynical and judgemental about this bit of history mys= tery?** =0A= **I'm honestly not sure if I am or not.** =0A= ** =0A= **I'd love your opinions.** =0A= ** =0A= Hi Rick=2C=20 I do think you're being a little bit over cynical here. The person was an = engineer who took Terry's idea and made it a reality. As such we'll never = really know how much that person understood about what they had just done a= nd what was possible with it musically. This doesn't mean that I'm putting= the engineer down as much as I'm saying he may merely have been the techni= cian that built the device TR had envisioned if that makes sense. So in this case=2C while he may have invented the technology=2C he may have= been completely clueless as to the technique ("what on earth are you going= do with this now that I've made it?") Could go either way really but I wouldn't necessarily consider it an ego th= ing at all. Kevin --=20 Till now you seriously considered yourself to be the body and to have a form. That is the primal ignorance which is the root cause of all trouble. - Ramana Maharshi (1879-1950) =0A= = --_fa9cb365-dd1e-4928-813a-d793dbb491f6_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable

As I said elsewhere=2C there= is a fair chance he was part of French tape culture=2C which had been expl= oring the boundaries of what magnetic tape could do since the late 40s. The= anecdotes don't say "he looked at me and said WTF" or similar. Hence the s= urmise. But the idea of tape jazz which is what looping is=2C that's TR's

Date: Mon=2C 27 Oct 2014 08:33:35 -0700<= br>Subject: Re: Terry Rileys' mysterious French engineer tape loop innovato= r
From: billowhead@gmail.com
To: Loopers-Delight@loopers-delight.com<= br>


On Sun=2C Oct 26=2C 2014 at 12:58 AM=2C Rick Walker <=3B= looppool@cruzio.com>=3B wrote:
*Am I t= he only one who things it's perhaps a bit dodgy that Terry Riley hasn't res= earched who this **
=0A= **mystery technician was to help him do his tape loops? He was there. He'd = certainly know how
=0A= to research the guy's name.
=0A= ****
=0A= **It seems to me that he needs almost equal credit for inventing the techni= que and I can't help but wonder **
=0A= **if Riley doesn't ever want his identity known for ego because he wants so= le credit for the creation
=0A= of this method of making music.
=0A= ****
=0A= **Am I just being too cynical and judgemental about this bit of history mys= tery?**
=0A= **I'm honestly not sure if I am or not.**
=0A= **
=0A= **I'd love your opinions.**
=0A= **
=0A=

Hi Rick=2C

I do think you're b= eing a little bit over cynical here. =3B The person was an engineer who= took Terry's idea and made it a reality. =3B As such we'll never reall= y know how much that person understood about what they had just done and wh= at was possible with it musically. =3B This doesn't mean that I'm putti= ng the engineer down as much as I'm saying he may merely have been the tech= nician that built the device TR had envisioned if that makes sense.

=
So in this case=2C while he may have invented the technology=2C = he may have been completely clueless as to the technique ("what on earth ar= e you going do with this now that I've made it?")

=
Could go either way really but I wouldn't nec= essarily consider it an ego thing at all.

Kevin

--=
Till now you seriously considered yourself to be the body and to have = a
form. That is the primal ignorance which is the root cause of all trou= ble.

- Ramana Maharshi (1879-1950)

=0A=
= --_fa9cb365-dd1e-4928-813a-d793dbb491f6_-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 01:16:35 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 74F311675C2; Tue, 28 Oct 2014 01:16:35 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:content-transfer-encoding:thread-index :content-language; bh=YYS+2jAtU0gQD7EgqqA2cC9+/M0XEqFKjbfV2HUnYKA=; b=NnJaHmrZLlTAR0qyN1l1EPc3odr70++reIL2o+G2XaVBlW6aw+h8k0FHytAlQ2Uh9S 2GhvAegWOcYqMtjbexrx3sZm8mGF2H2NgfeXYQmf49OzuSMdBDYsEEsJijKSmmv/QVat 5urfnMSlZ5txLHh8CZJvSJu8OYYEwI0Wp9Lj0TardqjbJVfaBqqyeru8i9vyIDPxiTjz KxGOY2HX6JhyAqfdbUb9ovs8gPJK0wW6w4b/aCQkFElgG8wYUAw93gAeBmLduFY+37h8 PKZ1a76h9YMWjTK6m+LmENl/ytKDvkrnBAlPoDI/RncVMK2JbG8w+RuUk3qpNxJEaLel wx6A== X-Received: by 10.67.30.72 with SMTP id kc8mr28218667pad.13.1414458779244; Mon, 27 Oct 2014 18:12:59 -0700 (PDT) From: "Diarmuid Pigott" To: References: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net> In-Reply-To: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net> Subject: RE: Terry Rileys' mysterious French engineer tape loop innovator Date: Tue, 28 Oct 2014 09:12:52 +0800 Message-ID: <004e01cff24c$4f070490$ed150db0$@gmail.com> MIME-Version: 1.0 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQHXyDrrvRxqwGfTgvYRG+9VR03GQZw1BWEg Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123668 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 01:16:35 +0000 (UTC) Hi, a few counter-thoughts - purely conjecture. The play was at the theatre, but the literature pretty much definitely = says the recording was it was done with an OB set up at the barn outside = a chateau that Dewey had hired, with some work being done in the studio, = and the kit established there. The show was using equipment that was set = up. That is my reading of the situation anyway. If we had access to the playbills for the production, we would have a = list of people to ask who may still be around, because even if the sound = engineer on the night wasn't the guy, he might remember who was. And while there may have been hundreds of sound engineers around, given = the amount of equipment the GRM had, and the extent to which it broke = down, and the need for leave replacement, rostering, call-outs, there is = probably 10% chance of encounter maybe? We can always hope -----Original Message----- From: emmanuel.reveneau@free.fr [mailto:emmanuel.reveneau@free.fr]=20 Sent: Tuesday, 28 October 2014 5:00 AM To: Loopers-Delight@loopers-delight.com Subject: Re: Terry Rileys' mysterious French engineer tape loop = innovator Hi, A few thoughts. First, the french engineer of the Radio T=C3=A9l=C3=A9vision = Fran=C3=A7aise was part of the team which work was to radiobroadcast the = theater performances of the international festival "Th=C3=A9=C3=A2tre = des Nations". They had a special mobile studio for that, located inside = the th=C3=A9=C3=A2tre Sarah Bernhardt. Nothing says that our engineer = was linked to Schaeffer's GRM. There were hundreds of sound engineers at = the RTF during this period. Second, 1963 is the year of the relocation of the RTF from the old = studios to the brand new "maison ronde", avenue du = Pr=C3=A9sident-Kennedy, Paris XVIe, and its transformation into ORTF the = year after. Because of this moving, 1963 is a dislocated year for the = archives of the institution. By the way, in general the archives of the = french radio are disorderly dispersed all across the country (Paris, = Fontainebleau, etc...), not easy to find something quickly. I found pretty fun to dedicate the first loopfest in Paris, last year, = to this unknown guy (we have a tradition here in France to celebrate = unknown guys), he is certainly a fifth business of looping, but there is = really no certitude for us to achieve this identity quest. Third, this is my interpretation of the 1963 TLA story : "In 1963, the Theatre des Nations, a Parisian international theater = festival, invited American playwright Ken Dewey=E2=80=99s company to = present a performance at the Recamier Theater. The festival gave voice = to the happening, a new movement initiated in 1957 by a student of John = Cage named Allan Kaprow and that took off in New York and California. = Dewey=E2=80=99s American Conservatory Theater (ACT) is multidisciplinary = and includes choreographer Anna Halprin=E2=80=99s dancers in addition to = members of the Living Theatre. In California, they experimented with new = forms of theater and dance to create "multimedia" production in = association with members of the San Francisco Tape Music Center. The = Tape Music Center was a group of musicians that were interested in = creating music by using magnetic tapes recorders. This group included = Terry Riley, who created =E2=80=9CMescalin Mix" in 1962 for one of = Halprin=E2=80=99s shows. In 1963, Riley scraped together a living in Paris playing jazz standards = in bars in Pigalleand on NATO bases. Upon meeting Dewey, he agreed to = create the soundtrack for the playwright=E2=80=99s intended performance = at the festival: an adaptation of his play "The Gift" created the = previous year in San Francisco. Dewey rented a ruined castle in the = southern suburbs of Paris for rehearsals, while Riley made plans to work = with Chet Baker - just released from prison in Italy for possession of = heroin - and his quartet as musicians and actors. At the time, the = quartet played regularly on the left bank at the cabaret le Chat qui = p=C3=AAche and included Luis Fuentes (trombone), Luigi Trussardi (bass) = and George Solano (drums). Riley recorded the quartet (together, then separately) in the studios of = the Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise, installed in the Sarah = Bernhardt Theatre (current Th=C3=A9=C3=A2tre de la ville) to broadcast = the plays presented during the Th=C3=A9=C3=A2tre des Nations. Baker = chose to interpret "So What" by Miles Davis, a modal piece perfectly = adapted to Riley=E2=80=99s intentions. Riley also recorded excerpts from = the text of "The Gift" read by John Graham. Riley described to the RTF = sound engineer assigned to assist him the echo technique he used to = record =E2=80=9CMescalin Mix=E2=80=9D. In Riley=E2=80=99s words: = =E2=80=9CI described the effect to the french engineer, a very straight = guy in a white coat, wo fooled around and ended up hooking two tapes = recorder together. Boy ! When you heard that sound it was just what I = wanted=E2=80=A6 What you do is connect two tapes recorders. The first is = playing back, the second recording, the tape streched across the heads = of both. As this machine records, it feeds back to the other machine, = which plays back what it=E2=80=99s added. It keeps building up=E2=80=A6 = =C2=BB Repetition and accumulation: the Time Lag Accumulator was born = and would permanently alter Riley=E2=80=99s musical approach. He = followed this development to its logical conclusion the following year = by composing the founding piece of minimalist music: =E2=80=9CIn = C=E2=80=9D. Riley would also use a similar system in the 60=E2=80=99s = for all-night improvisations in which he accompanied himself on the = harmonium and saxophone. When Chet Baker heard his quartet=E2=80=99s music passed through the = mill of the Time Lag Accumulator, he exclaimed "Man, that's some crazy = shit!" Many shared his negative reaction to this deconstruction of the = rule of music. The performances of "The Gift" on July 8, 9 and 10 1963 = caused misunderstanding and even anger among a Parisian public that had = come mainly to hear the famous trumpeter and expected a kind of musical = theater. Baker was not even present at the premiere and Riley had to = fill-in for him on short notice, using a toilet plunger as a trumpet. = Actors, dancers and musicians were precariously balanced on a huge metal = mobile hanging from the ceiling created by sculptor Jerry Walters. The = title object would move from hand to hand during the play and was = improvised at each performance. This created all kinds of opportunities = for provocation and forced the musicians to play ever louder to cover = the screams of the crowd. The maelstrom of sound created by Riley met = the jazz quartet=E2=80=99s music. On the last evening, an actor = concludes his line "This is an incredible experience" by destroying = recorders and tape of which only fragmentswould ultimately survive: the = 23 minutes of recording known since as the "Music for the Gift"." Emmanuel From Loopers-Delight-request@loopers-delight.com Tue Oct 28 10:56:47 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 9C2E718355F; Tue, 28 Oct 2014 10:56:47 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [tzL1X6fl/YCgc7ecJbj+Dzl4LeuJpAlb] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_0a4aee70-ded3-4171-b23a-c192fcab411b_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Acoustic looping Date: Tue, 28 Oct 2014 10:53:11 +0000 Importance: Normal In-Reply-To: <004e01cff24c$4f070490$ed150db0$@gmail.com> References: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net>,<004e01cff24c$4f070490$ed150db0$@gmail.com> MIME-Version: 1.0 X-OriginalArrivalTime: 28 Oct 2014 10:53:11.0979 (UTC) FILETIME=[5E1D27B0:01CFF29D] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123669 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 10:56:47 +0000 (UTC) --_0a4aee70-ded3-4171-b23a-c192fcab411b_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Anyone here shouted or played a trumpet down the LHC at CERN (or a smaller = atom smasher). I imagine it would (if it worked at all) be like the whisper= ing galleries at St Paul's. If not=2C perhaps someone should (in the intere= st of science=2C of course) ig = --_0a4aee70-ded3-4171-b23a-c192fcab411b_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Anyone here shouted or played a = trumpet down the LHC at CERN (or a smaller atom smasher). I imagine it woul= d (if it worked at all) be like the whispering galleries at St Paul's. If n= ot=2C perhaps someone should (in the interest of science=2C of course)
<= br>ig
= --_0a4aee70-ded3-4171-b23a-c192fcab411b_-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 11:10:25 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 2374518355E; Tue, 28 Oct 2014 11:10:25 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:references:in-reply-to:subject:date:message-id:mime-version :content-type:thread-index:content-language; bh=giI8J4ctFTNTJ0LggLuRD+Vq7Kr+fyUjbsp7vYJPPn4=; b=oVVgZHxBh0WHc4qar3SIGWwVNQTbAcH/MW6m7nTShy4D+cwvXjnc9688Nkz269y+7h MsXtHyioAK1bjf0FXXF5feOpwbNYcstXSmbtp2CbTi466hjqZlrrgM5UwKH5f+moYZv7 1Q8424Rajw+jrzIrzOPcs+3obrufc9vrk98/E27Yzl38wNo+nFYxA2lpmiP7L7+CEt8L kL0w6L0XjcmOX4jaeVXkx9+i2sfWJuHrLAfsATK70lj8znre9gVg382J4kCk1a3/tFy6 RUk87Y1D5Xd+kcbYKORNPEfKYMvRWWlSzH1ju7HwVKEKh2ZD/zAQCvbqbjlaZ2ooo/kD KfQA== X-Received: by 10.70.88.139 with SMTP id bg11mr2545433pdb.145.1414494408601; Tue, 28 Oct 2014 04:06:48 -0700 (PDT) From: "Diarmuid Pigott" To: References: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net>,<004e01cff24c$4f070490$ed150db0$@gmail.com> In-Reply-To: Subject: RE: Acoustic looping Date: Tue, 28 Oct 2014 19:06:41 +0800 Message-ID: <015201cff29f$438efd40$caacf7c0$@gmail.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_0153_01CFF2E2.51B375C0" X-Mailer: Microsoft Outlook 15.0 Thread-Index: AQGJfSpbD/dk8YAhcU4NjkXgPLfxJwHXyDrrAwCX1SoBRbNR8ZyhU0fg Content-Language: en-au Resent-Message-ID: <18OHn.A.wAD.hm3TUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123670 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 11:10:25 +0000 (UTC) This is a multipart message in MIME format. ------=_NextPart_000_0153_01CFF2E2.51B375C0 Content-Type: text/plain; charset="us-ascii" Content-Transfer-Encoding: 7bit There's an app for that http://find.mapmuse.com/interest/particle-accelerators if everyone clicks on it, we will have made someone's day "See Martha, I told you people needed to search for atom smashers. Now all we have to do is attract adwords" From: Ivodne Galatea [mailto:takas20@hotmail.com] Sent: Tuesday, 28 October 2014 6:53 PM To: Loopers-Delight@loopers-delight.com Subject: Acoustic looping Anyone here shouted or played a trumpet down the LHC at CERN (or a smaller atom smasher). I imagine it would (if it worked at all) be like the whispering galleries at St Paul's. If not, perhaps someone should (in the interest of science, of course) ig ------=_NextPart_000_0153_01CFF2E2.51B375C0 Content-Type: text/html; charset="us-ascii" Content-Transfer-Encoding: quoted-printable

There’s an app for = that

http://fi= nd.mapmuse.com/interest/particle-accelerators

 

if everyone clicks on it, we will have made = someone’s day

 

“See Martha, I told you people needed = to search for atom smashers. Now all we have to do is attract = adwords”

 

From:<= /b> Ivodne = Galatea [mailto:takas20@hotmail.com]
Sent: Tuesday, 28 = October 2014 6:53 PM
To: = Loopers-Delight@loopers-delight.com
Subject: Acoustic = looping

 

Anyone here shouted or played = a trumpet down the LHC at CERN (or a smaller atom smasher). I imagine it = would (if it worked at all) be like the whispering galleries at St = Paul's. If not, perhaps someone should (in the interest of science, of = course)

ig

------=_NextPart_000_0153_01CFF2E2.51B375C0-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 11:11:45 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 4AB1E183562; Tue, 28 Oct 2014 11:11:45 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=IQ0TdOIQ9ahDb2ANY51vBo0zu5Q3QJucIL2Tr1AZj20=; b=bT+ZPCqbDJPba0A8hcu9JR/o2Bn0abC0TdkCuIFWpljKPZR7FtX3cBFCtSVfLWUIG+ hlN6eyaxIVvRrR1IVQUM+2RPm3jhHyr9bb6yf/zvLybv89+S9qb9M2xyyCZTBBX/oMyK 71G0/tq1AQ4XmhVSggBonsAgxTQhNMFalO+1VJC4lONODgBeuSoggU9+ehEST+yeGzZQ jUYZhojmart/ygB1lB0L5lyfInIaFYftjDzgNqZyrdshA3QVfjYGSIgL2MMfLA/QNOXp ZdWAorMygBzDZQmsl+P4ajmx7HU6d+4bDGVQK+Kqxmxqb7T0xMkfr2zY8ulQkVB5HsJJ LGSg== MIME-Version: 1.0 X-Received: by 10.180.88.102 with SMTP id bf6mr26807684wib.43.1414494488629; Tue, 28 Oct 2014 04:08:08 -0700 (PDT) In-Reply-To: <015201cff29f$438efd40$caacf7c0$@gmail.com> References: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net> <004e01cff24c$4f070490$ed150db0$@gmail.com> <015201cff29f$438efd40$caacf7c0$@gmail.com> Date: Tue, 28 Oct 2014 07:08:08 -0400 Message-ID: Subject: Re: Acoustic looping From: John Gilstorf To: Loopers-Delight@loopers-delight.com Content-Type: multipart/alternative; boundary=f46d04428ab2881f5f050679a992 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123671 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 11:11:45 +0000 (UTC) --f46d04428ab2881f5f050679a992 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable stop emailing me.....where do I remove my name ??? On Tue, Oct 28, 2014 at 7:06 AM, Diarmuid Pigott wrote: > There=E2=80=99s an app for that > > http://find.mapmuse.com/interest/particle-accelerators > > > > if everyone clicks on it, we will have made someone=E2=80=99s day > > > > =E2=80=9CSee Martha, I told you people needed to search for atom smashers= . Now all > we have to do is attract adwords=E2=80=9D > > > > *From:* Ivodne Galatea [mailto:takas20@hotmail.com] > *Sent:* Tuesday, 28 October 2014 6:53 PM > *To:* Loopers-Delight@loopers-delight.com > *Subject:* Acoustic looping > > > > Anyone here shouted or played a trumpet down the LHC at CERN (or a smalle= r > atom smasher). I imagine it would (if it worked at all) be like the > whispering galleries at St Paul's. If not, perhaps someone should (in the > interest of science, of course) > > ig > --f46d04428ab2881f5f050679a992 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
stop emailing me.....where do I remove my name ???

On Tue, Oct 28,= 2014 at 7:06 AM, Diarmuid Pigott <diarmuidpigott@gmail.com>= wrote:

The= re=E2=80=99s an app for that

http://find.mapmuse.com/interest/particle-acceler= ators

= =C2=A0

if everyo= ne clicks on it, we will have made someone=E2=80=99s day

=C2=A0

=

=E2=80=9CSee Martha, I told you peopl= e needed to search for atom smashers. Now all we have to do is attract adwo= rds=E2=80=9D

= =C2=A0

From: Ivodne Galatea [mailto:takas20@hotmail.com] =
Sent: Tuesday, 28 October 2014 6:53 PM
To: Loopers-Delig= ht@loopers-delight.com
Subject: Acoustic looping

=C2=A0

Anyone here shouted or played a trumpet down the LHC at CERN (or a = smaller atom smasher). I imagine it would (if it worked at all) be like the= whispering galleries at St Paul's. If not, perhaps someone should (in = the interest of science, of course)

ig


--f46d04428ab2881f5f050679a992-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 11:18:13 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 63E10183560; Tue, 28 Oct 2014 11:18:13 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=from:to:subject:date:message-id:mime-version:content-type :thread-index:content-language; bh=dA3rgZ5wPlD9e9pETONBp7dHSE/DIGQbL27wH0L3UF4=; b=ZVO9K8gNlrlXygJwKvIim+EVslLDUgDzjZkqj9dA+7SV0kFscoodfaKGBEyvH8iVpc smYeaCL5wz3776HTLBo3YD9omUb8dVnH98cBePrAcqAJ7DfP+eELBkyKF9bwJh/5dhGw aYj7wpnxs6PIO50dFIQE+UyGak54W3d8XzRNKSz9nptWkDJpXdEU5bD9V+1frocqqsY6 t/WqCPmWzP9rZG6t5ENiYEIluAkG3bPktUPMVU13ftCgmhZYw2H/PKuzJ2guztuM4Nhb MwtdO87/VfqoQZ6zBJMW37dpCg8Y9SDgjI8yNOWC7nxf7pZ91vEQ3fGwpobnyq4/8fJ5 TqdA== X-Received: by 10.70.10.229 with SMTP id l5mr2835633pdb.94.1414494876889; Tue, 28 Oct 2014 04:14:36 -0700 (PDT) From: "Diarmuid Pigott" To: Subject: Unsubbing from list RE: Acoustic looping Date: Tue, 28 Oct 2014 19:14:29 +0800 Message-ID: <015b01cff2a0$5a652160$0f2f6420$@gmail.com> MIME-Version: 1.0 Content-Type: multipart/alternative; boundary="----=_NextPart_000_015C_01CFF2E3.688AD260" X-Mailer: Microsoft Outlook 15.0 Thread-Index: Ac/yoFcI+GEWJqouRg+OOA6YjD52ew== Content-Language: en-au Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123672 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 11:18:13 +0000 (UTC) This is a multipart message in MIME format. ------=_NextPart_000_015C_01CFF2E3.688AD260 Content-Type: text/plain; charset="utf-8" Content-Transfer-Encoding: quoted-printable People aren=E2=80=99t mailing you, they are mailing everyone. =20 Sorry if the volume has offended.=20 =20 People who don=E2=80=99t want a lot of chatter in their mailbox = generally subscribe via digest, perhaps you might consider that first. =20 To unsub. Send unsub to the list. It was is in the note you received = originally when you elected to join. There is a copy here (note the last = item about mailing people to unsub) =20 http://www.loopers-delight.com/list/LoopList.html =20 I'm sorry, I need to unsubscribe from Looper's Delight. How do I do = that? It's not that I dislike people there or anything, you understand. To unsubscribe, send mail with the word "unsubscribe" in both the = subject and body, and no sig files or anything else, to: = Loopers-Delight-request@loopers-delight.com If you are on the digest version of Looper's Delight, send your = unsubscribe request to: = Loopers-Delight-d-request@loopers-delight.com Don't send your unsubscribe message to the list, or people will make fun = of you and you will feel like a dork. =20 =20 =20 =20 From: John Gilstorf [mailto:shadowblue21@gmail.com]=20 Sent: Tuesday, 28 October 2014 7:08 PM To: Loopers-Delight@loopers-delight.com Subject: Re: Acoustic looping =20 stop emailing me.....where do I remove my name ??? =20 On Tue, Oct 28, 2014 at 7:06 AM, Diarmuid Pigott = > wrote: There=E2=80=99s an app for that http://find.mapmuse.com/interest/particle-accelerators =20 if everyone clicks on it, we will have made someone=E2=80=99s day =20 =E2=80=9CSee Martha, I told you people needed to search for atom = smashers. Now all we have to do is attract adwords=E2=80=9D =20 From: Ivodne Galatea [mailto:takas20@hotmail.com = ]=20 Sent: Tuesday, 28 October 2014 6:53 PM To: Loopers-Delight@loopers-delight.com = =20 Subject: Acoustic looping =20 Anyone here shouted or played a trumpet down the LHC at CERN (or a = smaller atom smasher). I imagine it would (if it worked at all) be like = the whispering galleries at St Paul's. If not, perhaps someone should = (in the interest of science, of course) ig =20 ------=_NextPart_000_015C_01CFF2E3.688AD260 Content-Type: text/html; charset="utf-8" Content-Transfer-Encoding: quoted-printable

People aren=E2=80=99t mailing you, they are = mailing everyone.

 

Sorry if the volume has offended. =

 

People who don=E2=80=99t want a lot of = chatter in their mailbox generally subscribe via digest, perhaps you = might consider that first.

 

To unsub. Send unsub to the list. It was is = in the note you received originally when you elected to join. There is a = copy here (note the last item about mailing people to = unsub)

 

http://www.loo= pers-delight.com/list/LoopList.html

 

I'm sorry, = I need to unsubscribe from Looper's Delight. How do I do that? It's not = that I dislike people there or anything, you = understand.

To = unsubscribe, send mail with the word "unsubscribe" in both the = subject and body, and no sig files or anything else, = to:

Loopers-Delight-request@loopers-delight.com


If you = are on the digest version of Looper's Delight, send your unsubscribe = request to:

Loopers-Delight-d-request@loopers-delight.com<= /span>


Don't = send your unsubscribe message to the list, or people will make fun of = you and you will feel like a dork.

 

 

 

 

From:<= /b> John = Gilstorf [mailto:shadowblue21@gmail.com]
Sent: Tuesday, 28 = October 2014 7:08 PM
To: = Loopers-Delight@loopers-delight.com
Subject: Re: Acoustic = looping

 

stop = emailing me.....where do I remove my name = ???

 

On Tue, = Oct 28, 2014 at 7:06 AM, Diarmuid Pigott <diarmuidpigott@gmail.com> = wrote:

There=E2=80=99s an app for that

http://find.mapmuse.com/interest/particle-accelerators<= /a>

 

if everyone clicks on it, we will have made someone=E2=80=99s = day

 

=E2=80=9CSee Martha, I told you people needed to search for atom = smashers. Now all we have to do is attract = adwords=E2=80=9D

 

From:<= /b> Ivodne = Galatea [mailto:takas20@hotmail.com]
Sent: Tuesday, 28 = October 2014 6:53 PM
To: Loopers-Delight@loopers-delight.com
Subject:<= /b> Acoustic looping

 <= /o:p>

Anyone here shouted or played = a trumpet down the LHC at CERN (or a smaller atom smasher). I imagine it = would (if it worked at all) be like the whispering galleries at St = Paul's. If not, perhaps someone should (in the interest of science, of = course)

ig

 

------=_NextPart_000_015C_01CFF2E3.688AD260-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 11:23:53 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id BD028183562; Tue, 28 Oct 2014 11:23:53 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 451 seconds by postgrey-1.34 at arsenic; Tue, 28 Oct 2014 11:23:53 UTC X-ME-Helo: pc1.home X-ME-Date: Tue, 28 Oct 2014 12:12:45 +0100 X-ME-IP: 2.1.42.109 Content-Type: text/plain; charset=windows-1252 Mime-Version: 1.0 (Apple Message framework v1283) Subject: Terry Riley's blah blah blah From: Olivier Malhomme In-Reply-To: <20141028111025.5F902183565@arsenic.violacea.com> Date: Tue, 28 Oct 2014 12:12:39 +0100 Content-Transfer-Encoding: quoted-printable Message-Id: References: <20141028111025.5F902183565@arsenic.violacea.com> To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.1283) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123673 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 11:23:53 +0000 (UTC) Hi to all. This really is a question to direct to Anil Prasad who's been conduction = one of his wonderful innerviews with Riley=85 Olivier= From Loopers-Delight-request@loopers-delight.com Tue Oct 28 12:24:01 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 96DC41675DE; Tue, 28 Oct 2014 12:24:01 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-IronPort-Anti-Spam-Filtered: true X-IronPort-Anti-Spam-Result: AscBANiIT1RPT450PGdsb2JhbAANT4NiWIMGhDfGdYdVAoEzAQEFAQEBATiEPgEBBCMPAQVAEQsTBQICBRYLAgIJAwIBAgExFBMIAQG8YHiVJAEBAQcBAQEBHoEsj2MWgmGBVAWfEoZ2kX9sgksBAQE X-IPAS-Result: AscBANiIT1RPT450PGdsb2JhbAANT4NiWIMGhDfGdYdVAoEzAQEFAQEBATiEPgEBBCMPAQVAEQsTBQICBRYLAgIJAwIBAgExFBMIAQG8YHiVJAEBAQcBAQEBHoEsj2MWgmGBVAWfEoZ2kX9sgksBAQE X-IronPort-AV: E=Sophos;i="5.04,802,1406588400"; d="scan'208";a="123739428" Message-ID: <544F8A55.4050706@tiscali.co.uk> Date: Tue, 28 Oct 2014 12:21:41 +0000 From: andy butler User-Agent: Mozilla/5.0 (Windows NT 6.3; WOW64; rv:24.0) Gecko/20100101 Thunderbird/24.1.0 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator References: <544CA990.6080302@cruzio.com> In-Reply-To: Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: 8bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123674 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 12:24:01 +0000 (UTC) On 27/10/2014 15:33, Kevin Cheli-Colando wrote: > > I do think you're being a little bit over cynical here. > The person was an engineer who took Terry's idea and made it a reality. well here's Riley's description of the invention “ The first is playing back, the second recording, the tape streched across the heads of both. As this machine records, it feeds back to the other machine, which plays back what it’s added. » read it carefully, it doesn't demonstrate an understanding of the setup. (note: the buzzword "feed back", as if someone had heard the term but not understood) I don't think Rick's being cynical at all, if you had a great idea for sound manipulation and found someone who could realise that for you I reckon you'd either remember their name, or wish you could. If I was going to pick a most likely scenario then I'd go for this 1.TR asks for some way of doing sound on sound sound in real time. 2.Unknown engineer does the setup, the 'emergent feature' is that old layers gradually decay. 3.TR plays into it and really likes it. That's all conjecture(invention) of course, but I don't think it's cynical to imagine the scenario. The alternative scenario, that TR told the engineer how to hook up the two machines and the engineer just implemented it would make TR the inventor. Whether this was the first time anyone had done long tape delays with feedback, or used that particular method to achieve it there's only really one guy to ask, the unknown engineer ...and we don't know who he(she?) is andy From Loopers-Delight-request@loopers-delight.com Tue Oct 28 13:34:29 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id AC8FD183560; Tue, 28 Oct 2014 13:34:29 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=message-id:reply-to:from:to:references:in-reply-to:subject:date :mime-version:content-type:importance; bh=G/EUGnRwj4MHYwDkMVJjvU6rVLXA8k60box2KJmSCA0=; b=jgngPuA2supBvqeDz94seV37RNDAIR8prE1orD9/Bd4DpjmJ+Yzck0U2v7Zf8ulwcV aWU7c9lN1OYMESPW2w9blggP2I7GNQtpwAyITPaBz5QjAZr781ozx1ePWjULCgNOo4fO pnZ1n7phmOVlLM9IG769Mezd5xaTTy+wKXMVIxDoZ591nWVRhmg4XBUBBBogJjHW+6e7 raRlyCYyssPxC7HQyvqNtLfTu4jOQPsH8r7N6psGIk2cEjHgXdWADVYhe5CnYKLnEE9O QpSdvGjhGtDjolv0jN3hd47wyQ/fLm30QcyTr97ZTR9huesIF8RGskjuZFxgXIG6NEtd O9KA== X-Received: by 10.70.127.199 with SMTP id ni7mr3562338pdb.39.1414503050793; Tue, 28 Oct 2014 06:30:50 -0700 (PDT) Message-ID: <7E72B5C979B2432283BE0429B67EC52E@americas.hpqcorp.net> Reply-To: "Kris Hartung" From: "Kris Hartung" To: References: <015b01cff2a0$5a652160$0f2f6420$@gmail.com> In-Reply-To: <015b01cff2a0$5a652160$0f2f6420$@gmail.com> Subject: Re: Unsubbing from list RE: Acoustic looping Date: Tue, 28 Oct 2014 07:30:43 -0600 MIME-Version: 1.0 Content-Type: multipart/related; type="multipart/alternative"; boundary="----=_NextPart_000_0696_01CFF281.1542B530" X-Priority: 3 X-MSMail-Priority: Normal Importance: Normal X-Mailer: Microsoft Windows Live Mail 15.4.3555.308 X-MimeOLE: Produced By Microsoft MimeOLE V15.4.3555.308 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123675 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 13:34:29 +0000 (UTC) This is a multi-part message in MIME format. ------=_NextPart_000_0696_01CFF281.1542B530 Content-Type: multipart/alternative; boundary="----=_NextPart_001_0697_01CFF281.1542DC40" ------=_NextPart_001_0697_01CFF281.1542DC40 Content-Type: text/plain; charset="UTF-8" Content-Transfer-Encoding: quoted-printable What=E2=80=99s weird is that I just unsubscribed a few days ago, to take = a beak, and even got a confirmation. And I=E2=80=99ve been around long = enough to know what email to send to to do this! But I am still = receiving messages...so I assume I have another email that is also = subscribed that is being forwarded to my primary mailbox. But I = don=E2=80=99t recall getting duplicate messages, also weird. = It=E2=80=99s unfortunate there isn=E2=80=99t web interface to manage LD = subscriptions. =20 From: Diarmuid Pigott=20 Sent: Tuesday, October 28, 2014 5:14 AM To: Loopers-Delight@loopers-delight.com=20 Subject: Unsubbing from list RE: Acoustic looping People aren=E2=80=99t mailing you, they are mailing everyone. =20 Sorry if the volume has offended.=20 =20 People who don=E2=80=99t want a lot of chatter in their mailbox = generally subscribe via digest, perhaps you might consider that first. =20 To unsub. Send unsub to the list. It was is in the note you received = originally when you elected to join. There is a copy here (note the last = item about mailing people to unsub) =20 http://www.loopers-delight.com/list/LoopList.html =20 I'm sorry, I need to unsubscribe from Looper's Delight. How do I do = that? It's not that I dislike people there or anything, you understand. To unsubscribe, send mail with the word "unsubscribe" in both the = subject and body, and no sig files or anything else, to: Loopers-Delight-request@loopers-delight.com If you are on the digest version of Looper's Delight, send your = unsubscribe request to: Loopers-Delight-d-request@loopers-delight.com Don't send your unsubscribe message to the list, or people will make fun = of you and you will feel like a dork. =20 =20 =20 =20 From: John Gilstorf [mailto:shadowblue21@gmail.com]=20 Sent: Tuesday, 28 October 2014 7:08 PM To: Loopers-Delight@loopers-delight.com Subject: Re: Acoustic looping =20 stop emailing me.....where do I remove my name ??? =20 On Tue, Oct 28, 2014 at 7:06 AM, Diarmuid Pigott = wrote: There=E2=80=99s an app for that http://find.mapmuse.com/interest/particle-accelerators =20 if everyone clicks on it, we will have made someone=E2=80=99s day =20 =E2=80=9CSee Martha, I told you people needed to search for atom = smashers. Now all we have to do is attract adwords=E2=80=9D =20 From: Ivodne Galatea [mailto:takas20@hotmail.com]=20 Sent: Tuesday, 28 October 2014 6:53 PM To: Loopers-Delight@loopers-delight.com Subject: Acoustic looping =20 Anyone here shouted or played a trumpet down the LHC at CERN (or a = smaller atom smasher). I imagine it would (if it worked at all) be like = the whispering galleries at St Paul's. If not, perhaps someone should = (in the interest of science, of course) ig =20 ------=_NextPart_001_0697_01CFF281.1542DC40 Content-Type: text/html; charset="UTF-8" Content-Transfer-Encoding: quoted-printable
What=E2=80=99s weird is that I just unsubscribed a few days ago, to = take a beak,=20 and even got a confirmation.   And I=E2=80=99ve been around = long enough to=20 know what email to send to to do this!   &= nbsp; But=20 I am still receiving messages...so I assume I have another email that is = also=20 subscribed that is being forwarded to my primary mailbox.   = But I=20 don=E2=80=99t recall getting duplicate messages, also weird.   = It=E2=80=99s=20 unfortunate there isn=E2=80=99t web interface to manage LD = subscriptions.  =20
 
Sent: Tuesday, October 28, 2014 5:14 AM
Subject: Unsubbing from list RE: Acoustic = looping
 

People=20 aren=E2=80=99t mailing you, they are mailing = everyone.

 

Sorry=20 if the volume has offended.

 

People=20 who don=E2=80=99t want a lot of chatter in their mailbox generally = subscribe via digest,=20 perhaps you might consider that first.

 

To=20 unsub. Send unsub to the list. It was is in the note you received = originally=20 when you elected to join. There is a copy here (note the last item about = mailing=20 people to unsub)

 

http://www.loo= pers-delight.com/list/LoopList.html

 

I'm sorry, I need to unsubscribe from Looper's Delight. How do I = do that?=20 It's not that I dislike people there or anything, you=20 understand.

To unsubscribe, send mail with the = word=20 "unsubscribe" in both the subject and body, and no sig files or anything = else,=20 to:

Loopers-Delight-request@loopers-delight.com


If you are on the digest version = of=20 Looper's Delight, send your unsubscribe request = to:

Loopers-Delight-d-request@loopers-delight.com=


Don't send your unsubscribe = message to the=20 list, or people will make fun of you and you will feel like a=20 dork.

 

 

 

 

From: John=20 Gilstorf [mailto:shadowblue21@gmail.com]
Sent: Tuesday, 28 = October=20 2014 7:08 PM
To:=20 Loopers-Delight@loopers-delight.com
Subject: Re: Acoustic=20 looping

 

stop emailing me.....where do I remove my name=20 ???

 

On Tue, Oct 28, 2014 at 7:06 AM, Diarmuid Pigott = <diarmuidpigott@gmail.com> wrote:

There=E2=80=99s=20 an app for that

http://find.mapmuse.com/interest/particle-accelerators

 

if=20 everyone clicks on it, we will have made someone=E2=80=99s = day

 

=E2=80=9CSee=20 Martha, I told you people needed to search for atom smashers. Now all = we have=20 to do is attract adwords=E2=80=9D

 

From: Ivodne=20 Galatea [mailto:takas20@hotmail.com]
Sent: Tuesday, 28 = October=20 2014 6:53 PM
To: Loopers-Delight@loopers-delight.com
Subject:=20 Acoustic looping

 

Anyone here shouted or = played a=20 trumpet down the LHC at CERN (or a smaller atom smasher). I imagine it = would=20 (if it worked at all) be like the whispering galleries at St Paul's. = If not,=20 perhaps someone should (in the interest of science, of=20 = course)

ig

 

------=_NextPart_001_0697_01CFF281.1542DC40-- ------=_NextPart_000_0696_01CFF281.1542B530 Content-Type: image/png; name="wlEmoticon-smile[1].png" Content-Transfer-Encoding: base64 Content-ID: <039B8EB10A844B58AA52BE69D8ACA0BA@americas.hpqcorp.net> iVBORw0KGgoAAAANSUhEUgAAABMAAAATCAYAAAByUDbMAAAAAXNSR0IArs4c6QAAAARnQU1BAACx jwv8YQUAAAAJcEhZcwAADsEAAA7BAbiRa+0AAAOrSURBVDhPdVR9aFN3FD2bLJtbERE6xEoZMkUc yGAbjhpY1cHY3MAPtK10E9xWVxSdH2u7ZXPrPujIFD8qlarFYbeS1NJ27TQtFROaWYjt/JprjM7F 2pRUU5u0qW1es+Tsvl+SP7TmwoHHu7933r3nnvvD4+KBFVmjv8IUqoVj+AR8Q8fBwWr4/Ifh8B2E 6c4+ZCWPpg/WwxC2wDxqwfiE6w1G/93EmH8rGdzOWF8eo1dyONY6m31mjN/6AeZrX8OQ/PThGLUi M2yFS+tZQU5UkZHD5PhPZPgbcmQ3ObSZvJdP3jEy7n6B4ToD3V/BdeNzZCYpEqEqEqLJv9ew+9AG tm3JVrh0tIjx8LdCVsLYvU+m5CJW8OouuB6qUFqr0C6upLu+gNcbv+dE0K/QazHxn99WClkp3bWv Tc0dA4NHwO5iVCgiJbYFGqMW2oqzqIXvMxUT932qCo6Wps+dF7IiaM73kY2ROpRH/lxFxhvYujFD HaypqWFhYaF6bsqDkH2WPucC7+4HnRtQDhm/M9pfSv5XS9vm2RxyOykFKwxetql3HPk0fa4LjNSB 59bDieGf4Y8HfyS1anrbCtXfUmgumMa+trfJ0FZ6W3Km5sR//AOMnQbProYfgWOi15hZRNgvdhBo J8loJzlpJx8cEqJt4rOPSP8a8q7YxLeT9H5M3pRWnULWKegA29+FBnG2Pza4S/z0XRLlotGXSqcE UZGQiL9uLyd7XyIvPi86Pa0qokNwTiprAm1vSWX6ikR718mHJezYs4TejjylEYNbyGGpSCfqe5O8 vpi8Mpe88KyaoFcs0VEkZGfBcbFI6wo40H8AZWGbHBwupqfxHTZ8+CJDfwlBYGOiNe8y0vOyEIkN umeI4NMYagQb1oKevULWBt4sEQ2XoQwDB5Ddv1d0G8jn5O0C9lS9ysqcDNr3zKPn5EIG7Qs41jmH wdMZ9FQ+Sfs2sPIVsMcETraA8Wbw91xoLUvFZ3roSxs+NUfayRUY6amdz6ZNM1m11MCKBU+wfC5Y MR+sWiKTzE9W1C44I8875J0RZkWkh75b+tJqjbNEm3nkNdHmUiZDZ55joMHAgAUMiJdCpxIapYgG vpD2jHDVL3rk9tC3/+puuILVBpnWMyL0U8qQamr6+GVqikg00lu7IRXpRFbjI7dGKrp2YLosrfmC 7JpfWon8kjBkavz61G6VJTTSW7O+junJT9NH1wfI6iyAyb4eDt3Z7e8lfKSPvzkXptblj7tpgf8B gIw0T8FFbXIAAAAASUVORK5CYII= ------=_NextPart_000_0696_01CFF281.1542B530-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 14:39:56 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id EF76A183565; Tue, 28 Oct 2014 14:39:55 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 857 seconds by postgrey-1.34 at arsenic; Tue, 28 Oct 2014 14:39:55 UTC X-TCPREMOTEIP: 50.201.159.194 X-Authenticated-UID: emile@foryourhead.com Content-Type: multipart/alternative; boundary="Apple-Mail=_C103991F-3C01-4C90-88B8-3D7D9A2C2214" Mime-Version: 1.0 (Mac OS X Mail 6.5 \(1508\)) Subject: Video posted to You Tube From: Emile Tobenfeld Date: Tue, 28 Oct 2014 10:21:54 -0400 Cc: Emile Tobenfeld , eyecandy@egroups.com, boss-improv@topica.com, iotacenter@egroups.com, Loopers-Delight@loopers-delight.com, atari-midi@yahoogroups.com, Frameworks@jonasmekasfilms.com X-Apple-Mail-Stationery: 84CFB22B-607A-426D-9F84-05F520B1515B Message-Id: <651BD122-D639-4FF8-83DB-2B8FEBCCEFC2@foryourhead.com> To: DrTVideo@egroups.com X-Mailer: Apple Mail (2.1508) Resent-Message-ID: <0Gn1-.A.EqF.7q6TUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123676 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 14:39:55 +0000 (UTC) --Apple-Mail=_C103991F-3C01-4C90-88B8-3D7D9A2C2214 Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=us-ascii Hi A half hour video from my recent Light into Motion event is posted at = http://youtu.be/jIPMmZ6NQ-w=20 The Oct 25 "Light into Motion" was performed in two long continuous = sets. This is the first and more cohesive of the two. The performers = were: Doctor T - video and movement Tim Mungenast --- guitar and electronics Karen Klein -- poetry and movement =20 Glynis Lomon -- movement, Voice, Aquasonic=20 Tracy Simonelli -- movement Eric Zinman -- piano and movement -- Emile When the going gets tough, the tough go dancing. My photography can be viewed at = http://www.flickr.com/photos/22231918@N06/collections/72157603627170351/ My videos can be viewed at http://www.youtube.com/Tobenfeld --Apple-Mail=_C103991F-3C01-4C90-88B8-3D7D9A2C2214 Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=us-ascii Doctor T and The OUTPOST Band - June 8
Hi

A half hour video from my = recent Light into Motion event is posted at http://youtu.be/jIPMmZ6NQ-w 

The Oct 25 "Light into = Motion" was performed in two long continuous sets. This is the first and = more cohesive of the two. The performers were:

Doctor  T =  -  video and movement
Tim Mungenast  --- guitar and = electronics
Karen Klein -- poetry and movement  
Glynis = Lomon -- movement, Voice, Aquasonic 
Tracy Simonelli -- = movement
Eric Zinman -- piano and movement

-- Emile
When the = going gets tough, the tough go dancing.


My videos can be viewed at http://www.youtube.com/Tobenfeld=



= --Apple-Mail=_C103991F-3C01-4C90-88B8-3D7D9A2C2214-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 15:19:15 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id C8945183559; Tue, 28 Oct 2014 15:19:15 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=gt41qp88bv8bB4B/UM1P7kAIm7xzaoinaYUKMxqe1zc=; b=lnXYVvrKR3iq5jtHW6ZfYvKcddmvQZl2JZ4ysVk7lXjwuQ2yR77aKlE3tyNz++nZT8 pEdjIYFq2saQrKRThbTkIdJUxxK5dIEWerWVb968KblzAz86Q3sHZVeUwqxbrhUlC9Yl 1LnYGrtWdXv99gysUcdug9lVA0rTaT/ERglJIf0N350Dmm0lbTkML44J7JVDPYPiRRCM F4s6fE2Kfg4kGLK6/XoWYFs8kLCUgiP4etOHUxhMuBv0nzucH+pS/PfY34KBOMHUmyJn pBTzOnzP0TwhtOjizGRSpH21P/5azCICXgQ8JDrsLbVqPKlywA6UcjQgIikyXb0i/pWB 3+rQ== MIME-Version: 1.0 X-Received: by 10.107.41.79 with SMTP id p76mr4673129iop.10.1414509339156; Tue, 28 Oct 2014 08:15:39 -0700 (PDT) In-Reply-To: References: <955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net> <004e01cff24c$4f070490$ed150db0$@gmail.com> Date: Tue, 28 Oct 2014 16:15:39 +0100 Message-ID: Subject: Re: Acoustic looping From: Per Boysen To: Loopers-Delight Content-Type: text/plain; charset=UTF-8 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123677 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 15:19:15 +0000 (UTC) I've done "acoustic looping" a couple of times but found that most natural, or architectural, ambiences tend cause too much diffusion for a really useful looping experience. The best set-up would be to play in front of a wall that is located in a flat environment with nothing else to cause diffusion to the echoed sound. Greetings from Sweden Per Boysen www.perboysen.com http://www.youtube.com/perboysen On Tue, Oct 28, 2014 at 11:53 AM, Ivodne Galatea wrote: > Anyone here shouted or played a trumpet down the LHC at CERN (or a smaller > atom smasher). I imagine it would (if it worked at all) be like the > whispering galleries at St Paul's. If not, perhaps someone should (in the > interest of science, of course) > > ig From Loopers-Delight-request@loopers-delight.com Tue Oct 28 15:37:33 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id C5C5818355E; Tue, 28 Oct 2014 15:37:33 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [AxnodQyNWKgRbQvJv9hQs7foBdtwktD3] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_30c6dc33-946b-471a-bab5-ffdd098ae58b_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: RE: Acoustic looping Date: Tue, 28 Oct 2014 15:33:57 +0000 Importance: Normal In-Reply-To: References: ,<955862541.213476437.1414443624757.JavaMail.root@zimbra67-e11.priv.proxad.net>,<004e01cff24c$4f070490$ed150db0$@gmail.com>,, MIME-Version: 1.0 X-OriginalArrivalTime: 28 Oct 2014 15:33:57.0307 (UTC) FILETIME=[96B638B0:01CFF2C4] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123678 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 15:37:33 +0000 (UTC) --_30c6dc33-946b-471a-bab5-ffdd098ae58b_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Hi Per=2C thanks for responding. I was unclear=2C sorry That would give creeping waves (convex) not whispering gallery waves (conca= ve) - WGW are Rayleigh's discovery way back when he noticed them in St Paul= 's in London. There's a nice animation here for the curious http://kino-ap= .eng.hokudai.ac.jp/WG.html But I was thinking of another type of thing - probably a special case of th= e WGW. When really young (5) I lived on the other side of Oz=2C and near m= e there was a small =0A= cave system that if you squeaked (I was young) the squeak would return a=0A= noticeable duration later. Presumably the sound made a round trip =0A= inside. So this isn't just a WGW=2C it was a WGW with no possibility of esc= ape=2C only of being dampened by the amount of air it had to traverse. I th= ought the toroidal shape of a particle generating structure would be intere= sting - the amount of air would dampen any attempt at subtlety=2C but if th= e sound was loud enough=2C and the tunnel long enough=2C I thought it might= naturally loop. So I thought I would ask people if anyone had tried one. Anyway=2C with people decommissioning such structures due to budget cuts ar= ound the world=2C perhaps someone conveniently located might get a chance t= o check one out if the occasion arises. If they were shutting it down=2C so= meone with a stack of amps and a suitable guitar+pedals might test the idea= out.=20 (bootnote - I revisited the cave later and a rock fall had ruined the sound= ) > Date: Tue=2C 28 Oct 2014 16:15:39 +0100 > Subject: Re: Acoustic looping > From: perboysen@gmail.com > To: Loopers-Delight@loopers-delight.com >=20 > I've done "acoustic looping" a couple of times but found that most > natural=2C or architectural=2C ambiences tend cause too much diffusion fo= r > a really useful looping experience. The best set-up would be to play > in front of a wall that is located in a flat environment with nothing > else to cause diffusion to the echoed sound. >=20 > Greetings from Sweden >=20 > Per Boysen > www.perboysen.com > http://www.youtube.com/perboysen >=20 >=20 > On Tue=2C Oct 28=2C 2014 at 11:53 AM=2C Ivodne Galatea wrote: > > Anyone here shouted or played a trumpet down the LHC at CERN (or a smal= ler > > atom smasher). I imagine it would (if it worked at all) be like the > > whispering galleries at St Paul's. If not=2C perhaps someone should (in= the > > interest of science=2C of course) > > > > ig >=20 = --_30c6dc33-946b-471a-bab5-ffdd098ae58b_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Hi Per=2C thanks for responding.= I was unclear=2C sorry

That would give creeping waves (convex) not = whispering gallery waves (concave) - WGW are Rayleigh's discovery way back = when he noticed them in St Paul's in London. =3B There's a nice animati= on here for the curious http://kino-ap.eng.hokudai.ac.jp/WG.html

But= I was thinking of another type of thing - probably a special case of the W= GW. =3B When really young (5) I lived on the other side of Oz=2C and ne= ar me there was a small =0A= cave system that if you squeaked (I was young) the squeak would return a=0A= noticeable duration later. Presumably the sound made a round trip =0A= inside. So this isn't just a WGW=2C it was a WGW with no possibility of esc= ape=2C only of being dampened by the amount of air it had to traverse. I th= ought the toroidal shape of a particle generating structure would be intere= sting - the amount of air would dampen any attempt at subtlety=2C but if th= e sound was loud enough=2C and the tunnel long enough=2C I thought it might= naturally loop.

So I thought I would ask people if anyone had tried= one.

Anyway=2C with people decommissioning such structures due to b= udget cuts around the world=2C perhaps someone conveniently located might g= et a chance to check one out if the occasion arises. If they were shutting = it down=2C someone with a stack of amps and a suitable guitar+pedals might = test the idea out.

(bootnote - I revisited the cave later and a roc= k fall had ruined the sound)


>=3B Date: Tue=2C 28 Oct 201= 4 16:15:39 +0100
>=3B Subject: Re: Acoustic looping
>=3B From: pe= rboysen@gmail.com
>=3B To: Loopers-Delight@loopers-delight.com
>= =3B
>=3B I've done "acoustic looping" a couple of times but found tha= t most
>=3B natural=2C or architectural=2C ambiences tend cause too mu= ch diffusion for
>=3B a really useful looping experience. The best set= -up would be to play
>=3B in front of a wall that is located in a flat= environment with nothing
>=3B else to cause diffusion to the echoed s= ound.
>=3B
>=3B Greetings from Sweden
>=3B
>=3B Per B= oysen
>=3B www.perboysen.com
>=3B http://www.youtube.com/perboyse= n
>=3B
>=3B
>=3B On Tue=2C Oct 28=2C 2014 at 11:53 AM=2C I= vodne Galatea <=3Btakas20@hotmail.com>=3B wrote:
>=3B >=3B Anyon= e here shouted or played a trumpet down the LHC at CERN (or a smaller
&g= t=3B >=3B atom smasher). I imagine it would (if it worked at all) be like= the
>=3B >=3B whispering galleries at St Paul's. If not=2C perhaps = someone should (in the
>=3B >=3B interest of science=2C of course)>=3B >=3B
>=3B >=3B ig
>=3B
<= /body> = --_30c6dc33-946b-471a-bab5-ffdd098ae58b_-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 17:18:38 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 5E76618355F; Tue, 28 Oct 2014 17:18:38 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:date:message-id:subject:from:to:content-type; bh=vr0cRn3FR/aLZP7KEnRDWOFppy2iU3a8VH9fUVfsf5o=; b=rwiIRs4sVJUvFxfTuZdwjzHyvl7hN7onPQ2hhFfGGm1OfuPYzeou2joF5nwKxqSrlY R58PIUI/9vtK7O+EMvzR0ShUJ61IczlCq4IZ6nhlhX7lm62QThxfrbheciPEzJqeMFAQ iE8mFN5/ulIWfg1RHqIFCWOd6bjMDtuNgQmWNH9Q71gujMdZ03efAHH5Bc0xvZxVhlWi nqxknVLwhh9raRIz1cA0hCsMy83VJ0gSRabF7PHRZ78u8dpelE77XTlVc1qGQ3BIg7ly 67qbKqqgpbDmSzuq5K7ir5XTnj/3r9k5mARQkLohmTsLRQq2y+qNrWK08YstPeZQXsKg PoeQ== MIME-Version: 1.0 X-Received: by 10.107.31.202 with SMTP id f193mr5547419iof.16.1414516501739; Tue, 28 Oct 2014 10:15:01 -0700 (PDT) Date: Tue, 28 Oct 2014 10:15:01 -0700 Message-ID: Subject: Rinus Van Alebeek review in Vital Weekly From: Matt Davignon To: Loopers Delight Content-Type: text/plain; charset=UTF-8 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123679 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 17:18:38 +0000 (UTC) >From the Vital Weekly mailing list this week, a familiar name in a review: RINUS VAN ALEBEEK - RANCH (cassette by Lonktaar) Since getting back into the world of self-released cassettes, Rinus van Alebeek has made quite a name for himself as a musician as well as re-launching Staaltape, once the cassette division of Staalplaat, but in hibernation for many years. Many of the current releases are handmade and highly limited. One of those Van Alebeek tapes that was previously released in an edition of twenty copies is now re-issued in an edition of thirty. "Ranch" deals with stories from the West Coast, and has been recorded in California and Berlin. Van Alebeek not only releases cassettes, it's also his main instrument of choice. Either cheap walkmans, old four track machines or the better (but older) models from years ago. These machines are fed with field recordings of his own making - traveling is something Van Alebeek always seems to do a lot - or cassettes he found on the street during these travels, or which were in the machines as he bought them in a thrift shop or simply cassettes given to him by friends. He combines all of these in quite an interesting collage of sound. Here on Side A it's all the more vivid kind of stuff, with rapid cuts and changes, making this almost like lo-fi version of Nurse With Wound; field recordings, voices and chopped up music: it's all to be found in here. The other side is more curious. Maybe also a collage of some kind, but most of the time very quiet, with very few sound information. It's more alike a microphone picking up hardly any signals in an empty room. It's more curious than great this side, but in the world of Van Alebeek it probably makes perfect sense: silence is a rhythm too. Probably Van Alebeek doesn't call music but a narration. Quite rightly so, I think. (FdW) Address: http://lonktaar.blogspot.it/ -- Matt Davignon mattdavignon@gmail.com Music: http://mattdavignon.bandcamp.com Podcast: http://ribosomematt.podomatic.com Also: http://ribosomemusic.tumblr.com/ From Loopers-Delight-request@loopers-delight.com Tue Oct 28 20:50:30 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 7C62D18355F; Tue, 28 Oct 2014 20:50:30 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <545000BB.90909@cruzio.com> Date: Tue, 28 Oct 2014 13:46:51 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator References: <20141028111025.7154C183562@arsenic.violacea.com> In-Reply-To: <20141028111025.7154C183562@arsenic.violacea.com> Content-Type: text/plain; charset=windows-1252; format=flowed Content-Transfer-Encoding: quoted-printable X-Antivirus: avast! (VPS 141028-0, 10/28/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123680 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 20:50:30 +0000 (UTC) *Thanks, Manu, I"ve never read such a detailed description of what happened. This clearly indicates that the vision and innovation was all Riley's so please forgive my earlier skepticism. I have loved Riley's work in my life, so all kudos to him. Thanks for posting it. and in defense of my scepticism, as it was called out for being cynical by Kevin Cheli-Colando: The musical world is completely full of examples where one famous musician appropriates another's work and takes full credit for it (Miles Davis's appropriating Bill Evans' modal approach is a very famous one) so I don't think I was being cynical about the possibility in the slightest. I was just wondering outloud merely because Riley has been asked several times about the identity of that engineer without ever answering the question. Of course, that's can be easily understood, too. I couldn't tell you who did sound engineering on a particular gig for my several tours of France with Bob Brozman. In the same breath, I can tell you who introduced me to any strange and innovative instrument that I've started using in one of my sets. I was merely skeptical. Skepticism and cynicism are not synonymous or necessarily mutually inclusive. I also was unsure if I was the only one who was. That knowldege is important to me to, as I can get some pretty crazy thoughts in my head. Anyway, this has been a fascinating discussion. I'm glad we've been having it and I've learned a lot. Rick Walker *On 10/28/2014 4:10 AM, Loopers-Delight-d-request@loopers-delight.com wrote= : > First, the french engineer of the Radio T=E9l=E9vision Fran=E7aise was pa= rt of the team which work was to radiobroadcast the theater performances of= the international festival "Th=E9=E2tre des Nations". They had a special m= obile studio for that, located inside the th=E9=E2tre Sarah Bernhardt. Noth= ing says that our engineer was linked to Schaeffer's GRM. There were hundre= ds of sound engineers at the RTF during this period. > Second, 1963 is the year of the relocation of the RTF from the old studio= s to the brand new "maison ronde", avenue du Pr=E9sident-Kennedy, Paris XVI= e, and its transformation into ORTF the year after. Because of this moving,= 1963 is a dislocated year for the archives of the institution. By the way,= in general the archives of the french radio are disorderly dispersed all a= cross the country (Paris, Fontainebleau, etc...), not easy to find somethin= g quickly. > I found pretty fun to dedicate the first loopfest in Paris, last year, to= this unknown guy (we have a tradition here in France to celebrate unknown = guys), he is certainly a fifth business of looping, but there is really no = certitude for us to achieve this identity quest. > Third, this is my interpretation of the 1963 TLA story : > > "In 1963, the Theatre des Nations, a Parisian international theater festi= val, invited American playwright Ken Dewey=92s company to present a perform= ance at the Recamier Theater. The festival gave voice to the happening, a n= ew movement initiated in 1957 by a student of John Cage named Allan Kaprow = and that took off in New York and California. Dewey=92s American Conservato= ry Theater (ACT) is multidisciplinary and includes choreographer Anna Halpr= in=92s dancers in addition to members of the Living Theatre. In California,= they experimented with new forms of theater and dance to create "multimedi= a" production in association with members of the San Francisco Tape Music C= enter. The Tape Music Center was a group of musicians that were interested = in creating music by using magnetic tapes recorders. This group included Te= rry Riley, who created =93Mescalin Mix" in 1962 for one of Halprin=92s show= s. > In 1963, Riley scraped together a living in Paris playing jazz standards = in bars in Pigalleand on NATO bases. Upon meeting Dewey, he agreed to creat= e the soundtrack for the playwright=92s intended performance at the festiva= l: an adaptation of his play "The Gift" created the previous year in San Fr= ancisco. Dewey rented a ruined castle in the southern suburbs of Paris for = rehearsals, while Riley made plans to work with Chet Baker - just released = from prison in Italy for possession of heroin - and his quartet as musician= s and actors. At the time, the quartet played regularly on the left bank at= the cabaret le Chat qui p=EAche and included Luis Fuentes (trombone), Luig= i Trussardi (bass) and George Solano (drums). > Riley recorded the quartet (together, then separately) in the studios of = the Radio T=E9l=E9vision Fran=E7aise, installed in the Sarah Bernhardt Thea= tre (current Th=E9=E2tre de la ville) to broadcast the plays presented duri= ng the Th=E9=E2tre des Nations. Baker chose to interpret "So What" by Miles= Davis, a modal piece perfectly adapted to Riley=92s intentions. Riley also= recorded excerpts from the text of "The Gift" read by John Graham. Riley d= escribed to the RTF sound engineer assigned to assist him the echo techniqu= e he used to record =93Mescalin Mix=94. In Riley=92s words: =93I described = the effect to the french engineer, a very straight guy in a white coat, wo = fooled around and ended up hooking two tapes recorder together. Boy ! When = you heard that sound it was just what I wanted=85 What you do is connect tw= o tapes recorders. The first is playing back, the second recording, the tap= e streched across the heads of both. As this machine records, it feeds back= to the other machine, which plays back what it=92s added. It keeps buildin= g up=85 =BB > Repetition and accumulation: the Time Lag Accumulator was born and would = permanently alter Riley=92s musical approach. He followed this development = to its logical conclusion the following year by composing the founding piec= e of minimalist music: =93In C=94. Riley would also use a similar system in= the 60=92s for all-night improvisations in which he accompanied himself on= the harmonium and saxophone. > When Chet Baker heard his quartet=92s music passed through the mill of th= e Time Lag Accumulator, he exclaimed "Man, that's some crazy shit!" Many sh= ared his negative reaction to this deconstruction of the rule of music. The= performances of "The Gift" on July 8, 9 and 10 1963 caused misunderstandin= g and even anger among a Parisian public that had come mainly to hear the f= amous trumpeter and expected a kind of musical theater. Baker was not even = present at the premiere and Riley had to fill-in for him on short notice, u= sing a toilet plunger as a trumpet. Actors, dancers and musicians were prec= ariously balanced on a huge metal mobile hanging from the ceiling created b= y sculptor Jerry Walters. The title object would move from hand to hand dur= ing the play and was improvised at each performance. This created all kinds= of opportunities for provocation and forced the musicians to play ever lou= der to cover the screams of the crowd. The maelstrom of sound created by Ri= ley met the jazz quartet=92s music. On the last evening, an actor concludes= his line "This is an incredible experience" by destroying recorders and ta= pe of which only fragmentswould ultimately survive: the 23 minutes of recor= ding known since as the "Music for the Gift"." > > Emmanuel --- This email is free from viruses and malware because avast! Antivirus protec= tion is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Tue Oct 28 21:07:11 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 95AE818355D; Tue, 28 Oct 2014 21:07:11 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Greylist: delayed 566 seconds by postgrey-1.34 at arsenic; Tue, 28 Oct 2014 21:07:11 UTC X-Originating-IP: [50.127.6.151] X-Previous-IP: 50.127.6.151 From: Jeff Shirkey Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: quoted-printable Subject: EDP and Eclipse (Last Call) Date: Tue, 28 Oct 2014 15:56:35 -0500 Message-Id: <3C2C203B-7C22-43A2-9F2F-8A0F2498028F@frontier.com> To: loopers-Delight@loopers-delight.com Mime-Version: 1.0 (Apple Message framework v1085) X-Mailer: Apple Mail (2.1085) Resent-Message-ID: <2WC-hB.A.s9._VAUUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123681 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 21:07:11 +0000 (UTC) Last call before I go the reverb.com/ebay route. I had to pay over 9K in taxes a couple weeks ago, and I didn't have the = cash. So, I'm drowning even deeper in debt. (Probably like a lot of = you...) This has forced a huge gear sale. While I have all kinds of amps for = sale, as well as a couple guitars, the stuff I figured would bring the = most interest here is my Gibson EDP (black panel) and my Eventide = Eclipse. Open to offers for either. Whatever you think is fair/reasonable. If = you're interested, please give me a shout. Thanks, Jeff= From Loopers-Delight-request@loopers-delight.com Tue Oct 28 21:58:45 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id EF41518355A; Tue, 28 Oct 2014 21:58:44 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-Authority-Analysis: v=2.1 cv=NNJb+iKg c=1 sm=1 tr=0 a=NXWg/mbnblgifp8ls2g00g==:117 a=NXWg/mbnblgifp8ls2g00g==:17 a=hOpmn2quAAAA:8 a=kj9zAlcOel0A:10 a=00EKFsr4AAAA:8 a=cW4-NtOyAAAA:8 a=k0D7DdUlAAAA:8 a=1Ti30cRw6akJhYjXbqAA:9 a=0szyjUO4iqMUTyGF:21 a=g4W6dcx2I6aUQWLP:21 a=CjuIK1q_8ugA:10 a=SM8Q3kPGnEAA:10 Content-Type: text/plain; charset=us-ascii Mime-Version: 1.0 (Mac OS X Mail 6.6 \(1510\)) Subject: Re: EDP and Eclipse (Last Call) From: Ted Killian In-Reply-To: <3C2C203B-7C22-43A2-9F2F-8A0F2498028F@frontier.com> Date: Tue, 28 Oct 2014 14:55:06 -0700 Content-Transfer-Encoding: quoted-printable Message-Id: <61EE4C4D-1148-4626-ADA3-C638BF8C3E2F@charter.net> References: <3C2C203B-7C22-43A2-9F2F-8A0F2498028F@frontier.com> To: Loopers-Delight@loopers-delight.com X-Mailer: Apple Mail (2.1510) Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123682 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 21:58:44 +0000 (UTC) Would love to help but I am similarly debt-burdened. Try posting on Good luck. On Oct 28, 2014, at 1:56 PM, Jeff Shirkey wrote: > Last call before I go the reverb.com/ebay route. >=20 > I had to pay over 9K in taxes a couple weeks ago, and I didn't have = the cash. So, I'm drowning even deeper in debt. (Probably like a lot of = you...) >=20 > This has forced a huge gear sale. While I have all kinds of amps for = sale, as well as a couple guitars, the stuff I figured would bring the = most interest here is my Gibson EDP (black panel) and my Eventide = Eclipse. >=20 > Open to offers for either. Whatever you think is fair/reasonable. If = you're interested, please give me a shout. >=20 > Thanks, >=20 > Jeff From Loopers-Delight-request@loopers-delight.com Tue Oct 28 22:25:29 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 03A5518355C; Tue, 28 Oct 2014 22:25:28 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com DKIM-Signature: v=1; a=rsa-sha256; c=relaxed/relaxed; d=gmail.com; s=20120113; h=mime-version:in-reply-to:references:date:message-id:subject:from:to :content-type; bh=2Gg1unEOmajKFlGAEgEFAdEGU0rb/ChAA/JnydfTBrA=; b=emTWg6/Fwn36NIZX+4bJMjfhZVKXzVEi3EJwFYfWJZ0TVO0Ze+9GTkqPY/nBc7LfdK 1YcALTbD0kfhJ2uTFLkGccozNgfqbY05axEMGIl5tFQYiVBZQO2vZyP1y4F8nYDxC2d8 ldJFjrp7Sk3S4NqYfmgx2aj8/svlV3P6o4r1doKcRwEitWIwfPgFc58TOLQQiBhsmJ1a OJUENGRzZcca6q+X8C10TdlNcv/9aVOtmqVfyrmbvHbM99d6mqZ1p+V2q9UJxQZzSGyx k1G79YO0cS6VQ6fzxw7aCVDkERbvR9HY953OKdfrQOrUYJNf3AdAeHScJyX0N63sMgaZ 1FCw== MIME-Version: 1.0 X-Received: by 10.140.18.204 with SMTP id 70mr9094563qgf.74.1414534912439; Tue, 28 Oct 2014 15:21:52 -0700 (PDT) In-Reply-To: <545000BB.90909@cruzio.com> References: <20141028111025.7154C183562@arsenic.violacea.com> <545000BB.90909@cruzio.com> Date: Tue, 28 Oct 2014 15:21:52 -0700 Message-ID: Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator From: Kevin Cheli-Colando To: "Loopers-Delight@loopers-delight.com" Content-Type: multipart/alternative; boundary=001a11355afefa7dea05068312b4 Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123683 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 22:25:28 +0000 (UTC) --001a11355afefa7dea05068312b4 Content-Type: text/plain; charset=UTF-8 Content-Transfer-Encoding: quoted-printable Hi Rick, I only called it cynicism since you asked. :-) **Am I just being too cynical and judgemental about this bit of history mystery?** **I'm honestly not sure if I am or not.** I wasn't passing judgment just answering a question. I think you're a top shelf individual and would have to work hard to assume negative cynicism from you. Kevin On Tue, Oct 28, 2014 at 1:46 PM, Rick Walker wrote: > *Thanks, Manu, > > I"ve never read such a detailed description of what happened. This clearl= y > indicates that the vision and innovation > was all Riley's so please forgive my earlier skepticism. I have loved > Riley's work in my life, so all kudos to him. > Thanks for posting it. > > and in defense of my scepticism, as it was called out for being cynical b= y > Kevin Cheli-Colando: > > The musical world is completely full of examples where one famous musicia= n > appropriates another's work and takes full credit for it > (Miles Davis's appropriating Bill Evans' modal approach is a very famous > one) so I don't think I was being cynical about the possibility in the > slightest. > > I was just wondering outloud merely because Riley has been asked several > times about the identity of > that engineer without ever answering the question. Of course, that's can > be easily understood, too. > I couldn't tell you who did sound engineering on a particular gig for my > several tours of France with Bob Brozman. > In the same breath, I can tell you who introduced me to any strange and > innovative instrument that I've started using > in one of my sets. I was merely skeptical. Skepticism and cynicism are no= t > synonymous or necessarily mutually inclusive. > I also was unsure if I was the only one who was. That knowldege is > important to me to, as I can get some pretty crazy thoughts > in my head. > > Anyway, this has been a fascinating discussion. I'm glad we've been havin= g > it and I've learned a lot. > > Rick Walker > > *On 10/28/2014 4:10 AM, Loopers-Delight-d-request@loopers-delight.com > wrote: > >> First, the french engineer of the Radio T=C3=A9l=C3=A9vision Fran=C3=A7a= ise was part of >> the team which work was to radiobroadcast the theater performances of th= e >> international festival "Th=C3=A9=C3=A2tre des Nations". They had a speci= al mobile >> studio for that, located inside the th=C3=A9=C3=A2tre Sarah Bernhardt. N= othing says >> that our engineer was linked to Schaeffer's GRM. There were hundreds of >> sound engineers at the RTF during this period. >> Second, 1963 is the year of the relocation of the RTF from the old >> studios to the brand new "maison ronde", avenue du Pr=C3=A9sident-Kenned= y, Paris >> XVIe, and its transformation into ORTF the year after. Because of this >> moving, 1963 is a dislocated year for the archives of the institution. B= y >> the way, in general the archives of the french radio are disorderly >> dispersed all across the country (Paris, Fontainebleau, etc...), not eas= y >> to find something quickly. >> I found pretty fun to dedicate the first loopfest in Paris, last year, t= o >> this unknown guy (we have a tradition here in France to celebrate unknow= n >> guys), he is certainly a fifth business of looping, but there is really = no >> certitude for us to achieve this identity quest. >> Third, this is my interpretation of the 1963 TLA story : >> >> "In 1963, the Theatre des Nations, a Parisian international theater >> festival, invited American playwright Ken Dewey=E2=80=99s company to pre= sent a >> performance at the Recamier Theater. The festival gave voice to the >> happening, a new movement initiated in 1957 by a student of John Cage na= med >> Allan Kaprow and that took off in New York and California. Dewey=E2=80= =99s American >> Conservatory Theater (ACT) is multidisciplinary and includes choreograph= er >> Anna Halprin=E2=80=99s dancers in addition to members of the Living Thea= tre. In >> California, they experimented with new forms of theater and dance to cre= ate >> "multimedia" production in association with members of the San Francisco >> Tape Music Center. The Tape Music Center was a group of musicians that w= ere >> interested in creating music by using magnetic tapes recorders. This gro= up >> included Terry Riley, who created =E2=80=9CMescalin Mix" in 1962 for one= of >> Halprin=E2=80=99s shows. >> In 1963, Riley scraped together a living in Paris playing jazz standards >> in bars in Pigalleand on NATO bases. Upon meeting Dewey, he agreed to >> create the soundtrack for the playwright=E2=80=99s intended performance = at the >> festival: an adaptation of his play "The Gift" created the previous year= in >> San Francisco. Dewey rented a ruined castle in the southern suburbs of >> Paris for rehearsals, while Riley made plans to work with Chet Baker - j= ust >> released from prison in Italy for possession of heroin - and his quartet= as >> musicians and actors. At the time, the quartet played regularly on the l= eft >> bank at the cabaret le Chat qui p=C3=AAche and included Luis Fuentes (tr= ombone), >> Luigi Trussardi (bass) and George Solano (drums). >> Riley recorded the quartet (together, then separately) in the studios of >> the Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise, installed in the Sarah Be= rnhardt Theatre >> (current Th=C3=A9=C3=A2tre de la ville) to broadcast the plays presented= during the >> Th=C3=A9=C3=A2tre des Nations. Baker chose to interpret "So What" by Mil= es Davis, a >> modal piece perfectly adapted to Riley=E2=80=99s intentions. Riley also = recorded >> excerpts from the text of "The Gift" read by John Graham. Riley describe= d >> to the RTF sound engineer assigned to assist him the echo technique he u= sed >> to record =E2=80=9CMescalin Mix=E2=80=9D. In Riley=E2=80=99s words: =E2= =80=9CI described the effect to the >> french engineer, a very straight guy in a white coat, wo fooled around a= nd >> ended up hooking two tapes recorder together. Boy ! When you heard that >> sound it was just what I wanted=E2=80=A6 What you do is connect two tape= s >> recorders. The first is playing back, the second recording, the tape >> streched across the heads of both. As this machine records, it feeds bac= k >> to the other machine, which plays back what it=E2=80=99s added. It keeps= building >> up=E2=80=A6 =C2=BB >> Repetition and accumulation: the Time Lag Accumulator was born and would >> permanently alter Riley=E2=80=99s musical approach. He followed this dev= elopment to >> its logical conclusion the following year by composing the founding piec= e >> of minimalist music: =E2=80=9CIn C=E2=80=9D. Riley would also use a simi= lar system in the >> 60=E2=80=99s for all-night improvisations in which he accompanied himsel= f on the >> harmonium and saxophone. >> When Chet Baker heard his quartet=E2=80=99s music passed through the mil= l of the >> Time Lag Accumulator, he exclaimed "Man, that's some crazy shit!" Many >> shared his negative reaction to this deconstruction of the rule of music= . >> The performances of "The Gift" on July 8, 9 and 10 1963 caused >> misunderstanding and even anger among a Parisian public that had come >> mainly to hear the famous trumpeter and expected a kind of musical theat= er. >> Baker was not even present at the premiere and Riley had to fill-in for = him >> on short notice, using a toilet plunger as a trumpet. Actors, dancers an= d >> musicians were precariously balanced on a huge metal mobile hanging from >> the ceiling created by sculptor Jerry Walters. The title object would mo= ve >> from hand to hand during the play and was improvised at each performance= . >> This created all kinds of opportunities for provocation and forced the >> musicians to play ever louder to cover the screams of the crowd. The >> maelstrom of sound created by Riley met the jazz quartet=E2=80=99s music= . On the >> last evening, an actor concludes his line "This is an incredible >> experience" by destroying recorders and tape of which only fragmentswoul= d >> ultimately survive: the 23 minutes of recording known since as the "Musi= c >> for the Gift"." >> >> Emmanuel >> > > > > --- > This email is free from viruses and malware because avast! Antivirus > protection is active. > http://www.avast.com > > --=20 Till now you seriously considered yourself to be the body and to have a form. That is the primal ignorance which is the root cause of all trouble. - Ramana Maharshi (1879-1950) --001a11355afefa7dea05068312b4 Content-Type: text/html; charset=UTF-8 Content-Transfer-Encoding: quoted-printable
Hi Rick,

I only called it cyni= cism since you asked. :-)

**Am I just being too cynical and judgemen= tal about this bit of history mystery?**
**I'm honestly not sure if I am or not.**

I wasn't pas= sing judgment just answering a question.=C2=A0 I think you're a top she= lf individual and would have to work hard to assume negative cynicism from = you.

Kevin

On Tue, Oct 28, 2014 at 1:46 PM, Rick Walker <looppool@= cruzio.com> wrote:
*Thanks,= Manu,

I"ve never read such a detailed description of what happened. This cle= arly indicates that the vision and innovation
was all Riley's so please forgive my earlier skepticism. I have loved R= iley's work in my life, so all kudos to him.
Thanks for posting it.

and in defense of my scepticism, as it was called out for being cynical by = Kevin Cheli-Colando:

The musical world is completely full of examples where one famous musician = appropriates another's work and takes full credit for it
(Miles Davis's appropriating Bill Evans' modal approach is a very f= amous one) so I don't think I was being cynical about the possibility i= n the slightest.

I was just wondering outloud merely because Riley has been asked several ti= mes about the identity of
that engineer without ever answering the question. Of course, that's ca= n be easily understood, too.
I couldn't tell you who did sound engineering on a particular gig for m= y several tours of France with Bob Brozman.
In the same breath, I can tell you who introduced me to any strange and inn= ovative instrument that I've started using
in one of my sets. I was merely skeptical. Skepticism and cynicism are not = synonymous or necessarily mutually inclusive.
I also was unsure if I was the only one who was. That knowldege is importan= t to me to, as I can get some pretty crazy thoughts
in my head.

Anyway, this has been a fascinating discussion. I'm glad we've been= having it and I've learned a lot.

Rick Walker


*On 10/28/2014 4:10 AM, Loopers-Delight-d-request@loopers-de= light.com wrote:
First, the french engineer of the Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise= was part of the team which work was to radiobroadcast the theater performa= nces of the international festival "Th=C3=A9=C3=A2tre des Nations"= ;. They had a special mobile studio for that, located inside the th=C3=A9= =C3=A2tre Sarah Bernhardt. Nothing says that our engineer was linked to Sch= aeffer's GRM. There were hundreds of sound engineers at the RTF during = this period.
Second, 1963 is the year of the relocation of the RTF from the old studios = to the brand new "maison ronde", avenue du Pr=C3=A9sident-Kennedy= , Paris XVIe, and its transformation into ORTF the year after. Because of t= his moving, 1963 is a dislocated year for the archives of the institution. = By the way, in general the archives of the french radio are disorderly disp= ersed all across the country (Paris, Fontainebleau, etc...), not easy to fi= nd something quickly.
I found pretty fun to dedicate the first loopfest in Paris, last year, to t= his unknown guy (we have a tradition here in France to celebrate unknown gu= ys), he is certainly a fifth business of looping, but there is really no ce= rtitude for us to achieve this identity quest.
Third, this is my interpretation of the 1963 TLA story :

"In 1963, the Theatre des Nations, a Parisian international theater fe= stival, invited American playwright Ken Dewey=E2=80=99s company to present = a performance at the Recamier Theater. The festival gave voice to the happe= ning, a new movement initiated in 1957 by a student of John Cage named Alla= n Kaprow and that took off in New York and California. Dewey=E2=80=99s Amer= ican Conservatory Theater (ACT) is multidisciplinary and includes choreogra= pher Anna Halprin=E2=80=99s dancers in addition to members of the Living Th= eatre. In California, they experimented with new forms of theater and dance= to create "multimedia" production in association with members of= the San Francisco Tape Music Center. The Tape Music Center was a group of = musicians that were interested in creating music by using magnetic tapes re= corders. This group included Terry Riley, who created =E2=80=9CMescalin Mix= " in 1962 for one of Halprin=E2=80=99s shows.
In 1963, Riley scraped together a living in Paris playing jazz standards in= bars in Pigalleand on NATO bases. Upon meeting Dewey, he agreed to create = the soundtrack for the playwright=E2=80=99s intended performance at the fes= tival: an adaptation of his play "The Gift" created the previous = year in San Francisco. Dewey rented a ruined castle in the southern suburbs= of Paris for rehearsals, while Riley made plans to work with Chet Baker - = just released from prison in Italy for possession of heroin - and his quart= et as musicians and actors. At the time, the quartet played regularly on th= e left bank at the cabaret le Chat qui p=C3=AAche and included Luis Fuentes= (trombone), Luigi Trussardi (bass) and George Solano (drums).
Riley recorded the quartet (together, then separately) in the studios of th= e Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise, installed in the Sarah Bernhar= dt Theatre (current Th=C3=A9=C3=A2tre de la ville) to broadcast the plays p= resented during the Th=C3=A9=C3=A2tre des Nations. Baker chose to interpret= "So What" by Miles Davis, a modal piece perfectly adapted to Ril= ey=E2=80=99s intentions. Riley also recorded excerpts from the text of &quo= t;The Gift" read by John Graham. Riley described to the RTF sound engi= neer assigned to assist him the echo technique he used to record =E2=80=9CM= escalin Mix=E2=80=9D. In Riley=E2=80=99s words: =E2=80=9CI described the ef= fect to the french engineer, a very straight guy in a white coat, wo fooled= around and ended up hooking two tapes recorder together. Boy ! When you he= ard that sound it was just what I wanted=E2=80=A6 What you do is connect tw= o tapes recorders. The first is playing back, the second recording, the tap= e streched across the heads of both. As this machine records, it feeds back= to the other machine, which plays back what it=E2=80=99s added. It keeps b= uilding up=E2=80=A6 =C2=BB
Repetition and accumulation: the Time Lag Accumulator was born and would pe= rmanently alter Riley=E2=80=99s musical approach. He followed this developm= ent to its logical conclusion the following year by composing the founding = piece of minimalist music: =E2=80=9CIn C=E2=80=9D. Riley would also use a s= imilar system in the 60=E2=80=99s for all-night improvisations in which he = accompanied himself on the harmonium and saxophone.
When Chet Baker heard his quartet=E2=80=99s music passed through the mill o= f the Time Lag Accumulator, he exclaimed "Man, that's some crazy s= hit!" Many shared his negative reaction to this deconstruction of the = rule of music. The performances of "The Gift" on July 8, 9 and 10= 1963 caused misunderstanding and even anger among a Parisian public that h= ad come mainly to hear the famous trumpeter and expected a kind of musical = theater. Baker was not even present at the premiere and Riley had to fill-i= n for him on short notice, using a toilet plunger as a trumpet. Actors, dan= cers and musicians were precariously balanced on a huge metal mobile hangin= g from the ceiling created by sculptor Jerry Walters. The title object woul= d move from hand to hand during the play and was improvised at each perform= ance. This created all kinds of opportunities for provocation and forced th= e musicians to play ever louder to cover the screams of the crowd. The mael= strom of sound created by Riley met the jazz quartet=E2=80=99s music. On th= e last evening, an actor concludes his line "This is an incredible exp= erience" by destroying recorders and tape of which only fragmentswould= ultimately survive: the 23 minutes of recording known since as the "M= usic for the Gift"."

Emmanuel



---
This email is free from viruses and malware because avast! Antivirus protec= tion is active.
http://www.avast.com=




--
Till now yo= u seriously considered yourself to be the body and to have a
form. That = is the primal ignorance which is the root cause of all trouble.

- Ra= mana Maharshi (1879-1950)

--001a11355afefa7dea05068312b4-- From Loopers-Delight-request@loopers-delight.com Tue Oct 28 23:53:06 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 2A3171675DE; Tue, 28 Oct 2014 23:53:06 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Date: Wed, 29 Oct 2014 00:49:28 +0100 (CET) From: emmanuel.reveneau@free.fr To: Loopers-Delight@loopers-delight.com Message-ID: <2057635655.216297060.1414540168561.JavaMail.root@zimbra67-e11.priv.proxad.net> In-Reply-To: <545000BB.90909@cruzio.com> Subject: =?utf-8?Q?Re=C2=A0:_Re:_Terry_Rileys'_mysterious_?= =?utf-8?Q?French_engineer_tape_loop_innovator?= MIME-Version: 1.0 Content-Type: text/plain; charset=utf-8 Content-Transfer-Encoding: quoted-printable X-Originating-IP: [37.161.219.134] X-Mailer: Zimbra 7.2.0-GA2598 (zclient/7.2.0-GA2598) X-Authenticated-User: emmanuel.reveneau@free.fr Resent-Message-ID: <70XFu.A.xeC.ixCUUB@arsenic> Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123684 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Tue, 28 Oct 2014 23:53:06 +0000 (UTC) By the way, the english traduction of this text is from our friends Sylvain= Poitras. ----- Mail d'origine ----- De: Rick Walker =C3=80: Loopers-Delight@loopers-delight.com Envoy=C3=A9: Tue, 28 Oct 2014 21:46:51 +0100 (CET) Objet: Re: Terry Rileys' mysterious French engineer tape loop innovator *Thanks, Manu, I"ve never read such a detailed description of what happened. This clearly indicates that the vision and innovation was all Riley's so please forgive my earlier skepticism. I have loved Riley's work in my life, so all kudos to him. Thanks for posting it. and in defense of my scepticism, as it was called out for being cynical by Kevin Cheli-Colando: The musical world is completely full of examples where one famous musician appropriates another's work and takes full credit for it (Miles Davis's appropriating Bill Evans' modal approach is a very famous one) so I don't think I was being cynical about the possibility in the slightest. I was just wondering outloud merely because Riley has been asked several times about the identity of that engineer without ever answering the question. Of course, that's can be easily understood, too. I couldn't tell you who did sound engineering on a particular gig for my several tours of France with Bob Brozman. In the same breath, I can tell you who introduced me to any strange and innovative instrument that I've started using in one of my sets. I was merely skeptical. Skepticism and cynicism are not synonymous or necessarily mutually inclusive. I also was unsure if I was the only one who was. That knowldege is important to me to, as I can get some pretty crazy thoughts in my head. Anyway, this has been a fascinating discussion. I'm glad we've been having it and I've learned a lot. Rick Walker *On 10/28/2014 4:10 AM, Loopers-Delight-d-request@loopers-delight.com wrote= : > First, the french engineer of the Radio T=C3=A9l=C3=A9vision Fran=C3=A7ai= se was part of the team which work was to radiobroadcast the theater perfor= mances of the international festival "Th=C3=A9=C3=A2tre des Nations". They = had a special mobile studio for that, located inside the th=C3=A9=C3=A2tre = Sarah Bernhardt. Nothing says that our engineer was linked to Schaeffer's G= RM. There were hundreds of sound engineers at the RTF during this period. > Second, 1963 is the year of the relocation of the RTF from the old studio= s to the brand new "maison ronde", avenue du Pr=C3=A9sident-Kennedy, Paris = XVIe, and its transformation into ORTF the year after. Because of this movi= ng, 1963 is a dislocated year for the archives of the institution. By the w= ay, in general the archives of the french radio are disorderly dispersed al= l across the country (Paris, Fontainebleau, etc...), not easy to find somet= hing quickly. > I found pretty fun to dedicate the first loopfest in Paris, last year, to= this unknown guy (we have a tradition here in France to celebrate unknown = guys), he is certainly a fifth business of looping, but there is really no = certitude for us to achieve this identity quest. > Third, this is my interpretation of the 1963 TLA story : > > "In 1963, the Theatre des Nations, a Parisian international theater festi= val, invited American playwright Ken Dewey=E2=80=99s company to present a p= erformance at the Recamier Theater. The festival gave voice to the happenin= g, a new movement initiated in 1957 by a student of John Cage named Allan K= aprow and that took off in New York and California. Dewey=E2=80=99s America= n Conservatory Theater (ACT) is multidisciplinary and includes choreographe= r Anna Halprin=E2=80=99s dancers in addition to members of the Living Theat= re. In California, they experimented with new forms of theater and dance to= create "multimedia" production in association with members of the San Fran= cisco Tape Music Center. The Tape Music Center was a group of musicians tha= t were interested in creating music by using magnetic tapes recorders. This= group included Terry Riley, who created =E2=80=9CMescalin Mix" in 1962 for= one of Halprin=E2=80=99s shows. > In 1963, Riley scraped together a living in Paris playing jazz standards = in bars in Pigalleand on NATO bases. Upon meeting Dewey, he agreed to creat= e the soundtrack for the playwright=E2=80=99s intended performance at the f= estival: an adaptation of his play "The Gift" created the previous year in = San Francisco. Dewey rented a ruined castle in the southern suburbs of Pari= s for rehearsals, while Riley made plans to work with Chet Baker - just rel= eased from prison in Italy for possession of heroin - and his quartet as mu= sicians and actors. At the time, the quartet played regularly on the left b= ank at the cabaret le Chat qui p=C3=AAche and included Luis Fuentes (trombo= ne), Luigi Trussardi (bass) and George Solano (drums). > Riley recorded the quartet (together, then separately) in the studios of = the Radio T=C3=A9l=C3=A9vision Fran=C3=A7aise, installed in the Sarah Bernh= ardt Theatre (current Th=C3=A9=C3=A2tre de la ville) to broadcast the plays= presented during the Th=C3=A9=C3=A2tre des Nations. Baker chose to interpr= et "So What" by Miles Davis, a modal piece perfectly adapted to Riley=E2=80= =99s intentions. Riley also recorded excerpts from the text of "The Gift" r= ead by John Graham. Riley described to the RTF sound engineer assigned to a= ssist him the echo technique he used to record =E2=80=9CMescalin Mix=E2=80= =9D. In Riley=E2=80=99s words: =E2=80=9CI described the effect to the frenc= h engineer, a very straight guy in a white coat, wo fooled around and ended= up hooking two tapes recorder together. Boy ! When you heard that sound it= was just what I wanted=E2=80=A6 What you do is connect two tapes recorders= . The first is playing back, the second recording, the tape streched across= the heads of both. As this machine records, it feeds back to the other mac= hine, which plays back what it=E2=80=99s added. It keeps building up=E2=80= =A6 =C2=BB > Repetition and accumulation: the Time Lag Accumulator was born and would = permanently alter Riley=E2=80=99s musical approach. He followed this develo= pment to its logical conclusion the following year by composing the foundin= g piece of minimalist music: =E2=80=9CIn C=E2=80=9D. Riley would also use a= similar system in the 60=E2=80=99s for all-night improvisations in which h= e accompanied himself on the harmonium and saxophone. > When Chet Baker heard his quartet=E2=80=99s music passed through the mill= of the Time Lag Accumulator, he exclaimed "Man, that's some crazy shit!" M= any shared his negative reaction to this deconstruction of the rule of musi= c. The performances of "The Gift" on July 8, 9 and 10 1963 caused misunders= tanding and even anger among a Parisian public that had come mainly to hear= the famous trumpeter and expected a kind of musical theater. Baker was not= even present at the premiere and Riley had to fill-in for him on short not= ice, using a toilet plunger as a trumpet. Actors, dancers and musicians wer= e precariously balanced on a huge metal mobile hanging from the ceiling cre= ated by sculptor Jerry Walters. The title object would move from hand to ha= nd during the play and was improvised at each performance. This created all= kinds of opportunities for provocation and forced the musicians to play ev= er louder to cover the screams of the crowd. The maelstrom of sound created= by Riley met the jazz quartet=E2=80=99s music. On the last evening, an act= or concludes his line "This is an incredible experience" by destroying reco= rders and tape of which only fragmentswould ultimately survive: the 23 minu= tes of recording known since as the "Music for the Gift"." > > Emmanuel --- This email is free from viruses and malware because avast! Antivirus protec= tion is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Wed Oct 29 04:09:44 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 341E218355C; Wed, 29 Oct 2014 04:09:44 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [KJAK3EgGaIs7+f/b99hgVXyoDPbjMe4W] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_ad2764b3-0a20-4f05-8595-273231e1d9dc_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: =?iso-8859-1?Q?RE:_Re=A0:_R?= =?iso-8859-1?Q?e:_Terry_R?= =?iso-8859-1?Q?ileys'_mys?= =?iso-8859-1?Q?terious_Fr?= =?iso-8859-1?Q?ench_engin?= =?iso-8859-1?Q?eer_tape_l?= =?iso-8859-1?Q?oop_innova?= =?iso-8859-1?Q?tor?= Date: Wed, 29 Oct 2014 04:06:07 +0000 Importance: Normal In-Reply-To: <2057635655.216297060.1414540168561.JavaMail.root@zimbra67-e11.priv.proxad.net> References: <545000BB.90909@cruzio.com>,<2057635655.216297060.1414540168561.JavaMail.root@zimbra67-e11.priv.proxad.net> MIME-Version: 1.0 X-OriginalArrivalTime: 29 Oct 2014 04:06:07.0517 (UTC) FILETIME=[AA69C4D0:01CFF32D] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123685 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 29 Oct 2014 04:09:44 +0000 (UTC) --_ad2764b3-0a20-4f05-8595-273231e1d9dc_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable It's sad about the archives in disrepair and being in far-flung locations. = I certainly agree if someone is in the position to ask TR they should. Reading the texts together it seems there were three recording locations - = the barn near the chateau=2C the OB unit at the Sarah Bernhardt theatre (wh= ich improbably is called at least three other things in the various texts) = and a standard RTF studio. I could be over-interpeting (it happens) but it = seems the idea and its realisation happened at the institutional location= =2C which would make sense as they would have had the spare equipment there= =2C and then TR and the engineer relocated it to the barn. This account is detailed but it does contradict other accounts in one signi= ficant place - in all other accounts I have read the engineer went away and= came back with a solution. This one says they messed around a bit. But this is also not blah blah blah either I think - this is about =0A= paying respect to a person who was at the very least a fifth business =0A= and possibly an innovator. People like Maurice Martenot are the exception n= ot the rule. Leo Fender wasn't a musician=2C we know his =0A= name even though it was other folks who make his instruments sing. =0A= Likewise Moog=2C Chamberlain=2C Theremin=2C Trautwein=2C Wurlitzer. We don= 't have Zacharias as a household name because he worked for Hohner and he i= nvented so much stuff it makes your head spin - but likewise we don't not k= now who he is.=20 This was why I raised it - the are people alive who know=2C and when they a= re dead the knowledge is gone. And this stuff matters.=20 = --_ad2764b3-0a20-4f05-8595-273231e1d9dc_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
It's sad about the archives in d= isrepair and being in far-flung locations. I certainly agree if someone is = in the position to ask TR they should.

Reading the texts together it= seems there were three recording locations - the barn near the chateau=2C = the OB unit at the Sarah Bernhardt theatre (which improbably is called at l= east three other things in the various texts) and a standard RTF studio. I = could be over-interpeting (it happens) but it seems the idea and its realis= ation happened at the institutional location=2C which would make sense as t= hey would have had the spare equipment there=2C and then TR and the enginee= r relocated it to the barn.

This account is detailed but it does con= tradict other accounts in one significant place - in all other accounts I h= ave read the engineer went away and came back with a solution. This one say= s they messed around a bit.

But this is also not blah blah blah eith= er I think - this is about =0A= paying respect to a person who was at the very least a fifth business =0A= and possibly an innovator. People like Maurice Martenot are the exception n= ot the rule. Leo Fender wasn't a musician=2C we know his =0A= name even though it was other folks who make his instruments sing. =0A= Likewise Moog=2C Chamberlain=2C Theremin=2C Trautwein=2C Wurlitzer. =3B= We don't have Zacharias as a household name because he worked for Hohner a= nd he invented so much stuff it makes your head spin - but likewise we don'= t not know who he is.

This was why I raised it - the are people ali= ve who know=2C and when they are dead the knowledge is gone. And this stuff= matters.

= --_ad2764b3-0a20-4f05-8595-273231e1d9dc_-- From Loopers-Delight-request@loopers-delight.com Wed Oct 29 05:35:19 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 185FA183564; Wed, 29 Oct 2014 05:35:19 +0000 (UTC) Old-Return-Path: X-Original-To: Loopers-Delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com Message-ID: <54507BBE.8090504@cruzio.com> Date: Tue, 28 Oct 2014 22:31:42 -0700 From: Rick Walker User-Agent: Mozilla/5.0 (Windows NT 6.1; rv:17.0) Gecko/20130801 Thunderbird/17.0.8 MIME-Version: 1.0 To: Loopers-Delight@loopers-delight.com Subject: Re: Terry Rileys' mysterious French engineer tape loop innovator References: <20141029040944.6DD32183567@arsenic.violacea.com> In-Reply-To: <20141029040944.6DD32183567@arsenic.violacea.com> Content-Type: text/plain; charset=UTF-8; format=flowed Content-Transfer-Encoding: 7bit X-Antivirus: avast! (VPS 141028-1, 10/28/2014), Outbound message X-Antivirus-Status: Clean Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123686 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Wed, 29 Oct 2014 05:35:19 +0000 (UTC) > > I wasn't passing judgment just answering a question. I think you're a > top shelf individual and would have to work hard to assume negative > cynicism from you. > > Kevin *Thanks for the vote of confidence. I forgot I worded it that way Please forgive me being over sensitive. Rick * --- This email is free from viruses and malware because avast! Antivirus protection is active. http://www.avast.com From Loopers-Delight-request@loopers-delight.com Thu Oct 30 21:32:26 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id AF992183561; Thu, 30 Oct 2014 21:32:26 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <5452AD8C.9020502@soundscapes.us> Date: Thu, 30 Oct 2014 17:28:44 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Listen to Galactic Travels Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123687 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Thu, 30 Oct 2014 21:32:26 +0000 (UTC) GALACTIC TRAVELS ON WDIY http://galactictravels.info Please SHARE so that more people can listen to and support the artists. Tonight at 11 pm EDT/GMT-4 on Galactic Travels, I'll conclude the month-long Special Focus on Craig Padilla. The Featured CD at Midnight will be LP 2 from "Sonar" on Fruits de Mer Records. The Special Focus page is at http://soundscapes.us/gt/playlists/2014/focus.html#oct Galactic Travels is an electronic, ambient, and space music show that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, 93.7 FM in Fogelsville and Trexlertown, and on the internet at http://wdiy.org. Become a WDIY member now! http://ow.ly/pJhCf From Loopers-Delight-request@loopers-delight.com Fri Oct 31 13:48:15 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 30C4418355D; Fri, 31 Oct 2014 13:48:15 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com X-TMN: [GIPwVp10J4RiF8K+kflHYVebhefwnrtt] X-Originating-Email: [takas20@hotmail.com] Message-ID: Content-Type: multipart/alternative; boundary="_653276ea-8fab-4d20-9685-847b219a0ea8_" From: Ivodne Galatea To: "Loopers-Delight@loopers-delight.com" Subject: Re tape, hands, always happy to prove self wrong Date: Fri, 31 Oct 2014 13:44:35 +0000 Importance: Normal In-Reply-To: <54507BBE.8090504@cruzio.com> References: <20141029040944.6DD32183567@arsenic.violacea.com>,<54507BBE.8090504@cruzio.com> MIME-Version: 1.0 X-OriginalArrivalTime: 31 Oct 2014 13:44:35.0937 (UTC) FILETIME=[CF11DD10:01CFF510] Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123688 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 31 Oct 2014 13:48:15 +0000 (UTC) --_653276ea-8fab-4d20-9685-847b219a0ea8_ Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Here is a photo of Leunig and Ussachevsky being unspeakable with tape: http://www.mediafire.com/view/dh149k97ukd5tpj/Leunig&Uss.jpg Two composers of whom I could have thought no wrong. So likely they (1952) = and Stockhausen (1955 I think) were told by the persons taking the photos=20 "No you have to hold it=2C otherwise people won't understand." And we've all been asked to do stupid things for photos So my unreserved apologies to the shade of Stockhausen (am listening to Ges= ang der Jungling as I type=2C not as penance but to reremind self) best to all and KS and thanks to the people who made me go burrowing for ph= otos of tape people = --_653276ea-8fab-4d20-9685-847b219a0ea8_ Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Here is a photo of Leunig and Us= sachevsky being unspeakable with tape:
http://www.mediafire.com/view/dh1= 49k97ukd5tpj/Leunig&=3BUss.jpg

Two composers of whom I could have= thought no wrong. So likely they (1952) and Stockhausen (1955 I think) wer= e told by the persons taking the photos
"No you have to hold it=2C othe= rwise people won't understand."

And we've all been asked to do stupi= d things for photos

So my unreserved apologies to the shade of Stock= hausen (am listening to Gesang der Jungling as I type=2C not as penance but= to reremind self)

best to all and KS and thanks to the people who m= ade me go burrowing for photos of tape people

= --_653276ea-8fab-4d20-9685-847b219a0ea8_-- From Loopers-Delight-request@loopers-delight.com Fri Oct 31 18:16:57 2014 Return-Path: X-Original-To: looparc@loopers-delight.com Delivered-To: looper+looparc@arsenic.violacea.com Received: by arsenic.violacea.com (Postfix, from userid 1004) id 94BA1183561; Fri, 31 Oct 2014 18:16:57 +0000 (UTC) Old-Return-Path: X-Original-To: loopers-delight@loopers-delight.com Delivered-To: looper+loopers-delight@arsenic.violacea.com x-originating-ip: 208.109.97.160 Message-ID: <5453D137.2000309@soundscapes.us> Date: Fri, 31 Oct 2014 14:13:11 -0400 From: Bill Fox User-Agent: Mozilla/5.0 (Macintosh; Intel Mac OS X 10.6; rv:24.0) Gecko/20100101 Thunderbird/24.6.0 MIME-Version: 1.0 To: ElectronicMusic Yahoogroups List , beyond_em Yahoogroups List , spacemusic Yahoogroups List , Ambient Way Yahoogroups List , Loopers Delight Mailing List Subject: Galactic Travels Playlist #917 for October 30, 2014. Content-Type: text/plain; charset=ISO-8859-1; format=flowed Content-Transfer-Encoding: 7bit Resent-Message-ID: Resent-From: Loopers-Delight@loopers-delight.com Reply-To: Loopers-Delight@loopers-delight.com X-Mailing-List: archive/latest/123689 X-Loop: Loopers-Delight@loopers-delight.com Precedence: list Resent-Sender: Loopers-Delight-request@loopers-delight.com Resent-Date: Fri, 31 Oct 2014 18:16:57 +0000 (UTC) http://soundscapes.us/gt/playlists/2014/141030.html Galactic Travels is an electronic, ambient, and space music show, that airs each Thursday at 11:04 pm on WDIY 88.1 FM, Allentown and Bethlehem, PA, 93.9 FM in Easton, PA and Phillipsburg, NJ, 93.7 FM in Fogelsville and Trexlertown, and webcasting on the internet. Show #917 October 30, 2014. RECAP: On this show, I concluded the month-long focus on Craig Padilla. The Featured CD at Midnight was LP2 from "Sonar" on Fruits de Mer Records. http://soundscapes.us/gt/playlists/2014/focus.html#oct PLAYLIST: 11:04 pm ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Kevin Braheny Starflight 1 * Galaxies (Hearts of Space) Second Culture Star Seed People Thunder Conjuring Mind (none) Second Culture Euphoricum Integer Thunder Conjuring Mind (none) ARTTEK Roller's Coast Sounds Like... (none) Urban Shamanism Meta Organism I Primordial Inheritance (Black Note) Bouvetoya 26 Prosperina Interstellarphonic (SynGate) Steve Roach The Delicate Forever The Delicate Forever (Projekt) 12:00 am ARTIST TRACK ALBUM (label) ==================== ==================== =============================== Craig Padilla Sonar Sonar - LP2 (Fruits de Mer) Craig Padilla Awaken In a Dream Sonar - LP2 (Fruits de Mer) Iotronica Secrets of Callisto Of Moons and Stars (A.D. Music) 1:00 am * = excerpt VA = Various Artists (compilation) ++ = Advance CDR from Artist -- = Background music under interview NEXT SHOW: On the next Galactic Travels, I'll begin a month-long focus on Ron Boots. The Featured CD at Midnight will be "Too Many Secrets" on Groove Unlimited Records.http://soundscapes.us/gt/playlists/2014/focus.html#nov WDIY Announcement: http://wdiy.org/post/next-galactic-travels-2014-11-06 Bill ========================================================================= Host of Galactic Travels, an electronic, ambient, and space music show, Thursdays at 11:04 pm on WDIY 88.1 FM in Allentown and Bethlehem, 93.9 FM in Easton and Phillipsburg, and on 93.7 FM in Trexlertown and Fogelsville. Galactic Travels web site: http://galactictravels.info Listen to WDIY at http://wdiy.org/programs/galactic-travels on-line. Playlists are also published at http://billfox.blogspot.com ======================================================================== Timezone information - [ Winter: EST/GMT-5 / Summer: EDT/GMT-4 ] Daylight Saving Time in the US (2014) begins at 2:00 AM on Sunday, March 9 and ends at 2:00 AM on Sunday, November 2. ========================================================================